Vrouwenhoofd, in profiel c. 1886 - 1934

Curator: Looking at this sketch, I am immediately drawn into the intimate mood and the economy of line; it reminds me of the immediacy of a thought captured just before it disappears. Editor: Here we see “Vrouwenhoofd, in profiel,” or “Head of a Woman, in Profile,” by Isaac Israels. Though dated circa 1886-1934, let’s explore what this pencil drawing reveals about artistic labor during that period. Curator: Absolutely. The swiftness of the medium – a pencil sketch – lends itself to the ephemeral nature of the subject, capturing, in a sense, a passing moment of beauty. It makes me consider how many portraits, or impressions, Israels was turning out. Was this for quick sale? Was it a preparation for something bigger? Editor: Precisely! Sketches were, on the one hand, tools of the trade – preparations for more monumental works; studies of light, form and physiognomy for larger commissions. On the other hand, they existed as readily commodifiable items for consumption. What does this speak to regarding Israels and his social-economic position? Was it to establish himself, or was he simply churning product to cater to demand? The rough quality of the pencil markings might indicate either a casual preparatory study or a piece quickly executed to attract potential patrons. Curator: Well, even with its rough quality, the artistry in the swift shading to describe the subject's form cannot be denied. There’s a sensuality, an elegance, a subtle character that emerges from the cross hatching. I’m fascinated by the incompleteness of it all – there's a magic in what’s suggested but not fully resolved. Editor: And it's exactly this unfinished quality that perhaps makes it valuable in our contemporary world as both a work of art and a historical document of artistic work. When we view this sketch now on display at the Rijksmuseum, what layers of meaning do its process and display offer, both for historical accounts of Israels’ practice as well as a piece that resonates emotionally and visually? Curator: I am taking away the understanding that the work isn’t simply a frozen representation, but a testament to an entire working context and the unique energy with which this portrait, captured on paper, invites engagement. Editor: For me, I’m moved to reflect upon the intersection of economics and beauty. I feel that both forces must have impacted how and why Israels sketched "Head of a Woman, in Profile."