Handschrift betreffende kunstenaars met de achternaam Carré c. 1840 - 1841

Editor: This intriguing page from Johannes Immerzeel's hand, dated around 1840-1841, lists artists named Carré. It’s a flurry of script and faded ink on paper. It almost feels like peering into someone’s private, art-historical diary. What springs to mind when you look at it? Curator: It feels like being invited into a whisper, doesn't it? To me, this isn't just a list; it's a portal. Immerzeel, meticulously documenting these artists, reminds me of a cartographer mapping unknown lands. Each entry, a potential adventure. I find myself wondering, who were these Carré artists? What were their lives like? Their aspirations? Were they celebrated or forgotten by time? Editor: A portal, I like that. It does invite curiosity about forgotten figures. Does the script itself give you any clues? Curator: Absolutely. The very act of writing, the pressure of the quill on paper, the flourish of each letter—it's all so deeply human. It connects us directly to Immerzeel’s hand, to his thoughts as he researched and compiled this information. You can almost feel his breath on the page, his presence hovering beside you. Editor: That's a lovely image. It does feel very intimate, as though you’re reading over his shoulder. Almost like a secret being shared. Curator: Exactly. And the fading ink, that adds another layer of melancholy. Time's passage, inevitably blurring the edges of memory. But that fragility is also its beauty. It invites us to look closer, to pay attention. To remember. It almost suggests a song that someone sings and we get to listen to! Don't you think? Editor: I agree! I was so focused on the data contained in the piece, but your emphasis on the process and the materials gives the work an emotive weight I hadn’t fully considered before. Curator: And that’s the dance of art, isn't it? Data meets dream. And that's the beautiful paradox: the more specific we are, the more universal it becomes.