December (1917 CE)

A sleeping cat fills Julie de Graag’s December with a sense of stillness that feels both intimate and carefully composed. The woodcut is minimal, but not slight: with a few refined lines and a restrained arrangement, de Graag turns an ordinary domestic subject into an image of rest, warmth, and quiet attention. Its calm surface is part of its strength, inviting the viewer into a moment so hushed that even the smallest curve of the animal’s body seems deliberate.

A Quiet Animal at the Center

This print was created in 1917, when Julie de Graag was establishing herself as a distinctive Dutch graphic artist and painter. Her work is often associated with Art Nouveau and, more loosely, with the broader decorative and modern tendencies of the early 20th century. Nature and animals returned again and again in her art, and December reflects that recurring interest with particular clarity. The sleeping cat is not treated as anecdote or ornament alone, but as a self-contained subject worthy of close and serious observation.

Nature, Solace, and the Everyday

Although no specific anecdote is securely tied to December, de Graag is known to have felt a strong affinity with the natural world, often finding in it a kind of refuge. Animals appear frequently in her work, and some have suggested that the cat in this print may have been inspired by one of her own pets, since she is known to have kept animals. Whether or not that is the case, the image clearly belongs to a broader tendency in her art: the ability to give everyday living creatures a quiet dignity without sentimental excess.

Stillness in Line and Form

December occupies an important place within the context of early 20th-century Dutch graphic art. Its economy of means and emphasis on organic form align it with aspects of Art Nouveau, yet de Graag’s treatment is notably restrained. The cat, shown in deep repose, becomes an emblem of calm and contentment, but also of concentration and self-contained life. The simplicity of the composition is essential to its effect, allowing the subject’s stillness to dominate the image.

The woodcut technique heightens that effect by sharpening the contrast between form and ground. Rather than filling the surface with detail, de Graag allows line, silhouette, and spacing to carry the mood. The result is a print whose serenity feels carefully made rather than merely decorative.

Carved from Three Blocks

The artwork was made as a woodcut, printed in black and brown from three separate blocks on paper. It measures 15.5 cm in height and 19.1 cm in width (6.1 × 7.5 inches). De Graag’s precise carving is evident in the controlled rendering of the cat’s body, where light and shadow work together to define volume and repose. The artist’s signature appears on the print, underscoring her direct involvement in its making.

From Private Hands to the Rijksmuseum

The print was donated to the Rijksmuseum in 1935 by G.A. de Graag. Before entering the museum, it had passed through private ownership, as indicated by the collector’s mark on the verso, Lugt 2228. Today, December remains in the Rijksmuseum, where it forms part of the museum’s public collection.