Zwei schlechte Gewissen (Two Guilty Consciences) c1918
Created in 1918 by the Austrian painter Karl Reichert, “Zwei schlechte Gewissen” (translated as “Two Guilty Consciences”) stands as a captivating work that encapsulates the essence of late 19th to early 20th-century portraiture, demonstrating Reichert’s skill in portraying innocence and moral introspection.
Born in 1836 and passing in 1918, Reichert was renowned for his meticulous approach to realism, which is evident in this piece. The painting depicts a young girl sitting on a wooden stool, accompanied by a dog, in an intimate, quiet domestic scene that evokes a sense of innocence and guilt, hinted at by the title.
Table of Contents
The Main Subject: A Young Girl and Her Dog
The central subject of this painting is a young girl, appearing no older than six or seven years, draped in a simple yet delicate white dress. The dress is adorned with soft embroidered floral patterns along the sleeves, highlighting the craftsmanship of the time. The girl’s hair is a chestnut brown, softly curled around her face, and she sits with a slight stoop, her posture suggesting a moment of quiet contemplation.
Her expression is distant, her gaze turned slightly away from the viewer, as if lost in thought. This subtle expression of introspection invites the viewer to question her thoughts. The gentle ruffles of her dress and the soft folds of the fabric are meticulously rendered, showcasing Reichert’s keen attention to detail in fabric textures, a hallmark of his realist style.
Sitting at her feet, a dog lies calmly beside her. The dog is painted with remarkable lifelike precision, its fur soft and almost tangible, contributing to the painting’s realistic portrayal of the domestic scene. The dog’s posture and its gaze directed at the girl enhance the sense of companionship and trust between the two, underlining the girl’s youthful innocence. However, the dog’s subtle positioning, resting at her feet while she sits in apparent guilt, also hints at a shared experience or secret between them.
Objects and Details: Symbolism of Guilt and Innocence
The background of the painting is minimalist but evocative. A soft blue wall frames the scene, imbuing the piece with a calm and serene atmosphere. However, the colors are not entirely tranquil; the soft pastel tones of the background contrast with the unsettling mood suggested by the girl’s body language and the title of the piece.
The light falls gently on the girl’s face and body, accentuating the innocence conveyed through her youthful form and delicate features, while the shadows along the edges suggest an underlying tension in the scene.
A small rug is partially visible beneath the dog, lying in a slightly disheveled state. The rug is richly patterned, with intricate designs that hint at opulence, but it appears slightly crumpled, as though it had been disturbed, adding a layer of disorder to an otherwise neat and orderly setting.
This detail adds to the narrative of the painting, suggesting that something has happened, perhaps the child has been involved in some mischief or mistake, and the disordered rug symbolizes a disruption of the peace. In the lower right corner of the image, one can also notice a small piece of torn paper, further hinting at the possibility of the girl’s involvement in an act that has caused distress.
Additionally, there is a faint trace of pink flowers at the top right of the composition. These delicate flowers bring a touch of nature into the room, their soft, ephemeral quality accentuating the innocence of the scene. However, like the other elements in the composition, they appear muted, almost as though they are fading or wilting, mirroring the possible loss of innocence or the burden of guilt the girl may be experiencing.
The Terrain and Materials: A Domestic Setting
The setting of the painting is undoubtedly domestic, with a simple interior that provides an intimate glimpse into the private world of the subject. The floor is made of hardwood, polished to a soft shine, and the visible portion of the room, though not overwhelming in detail, speaks to the middle-class environment in which the girl lives. The simplicity of the room’s design, paired with the soft, muted palette of the background, evokes a quiet, unassuming space where the domestic life of the girl unfolds.
The materials used in the painting, oil on canvas, are traditionally employed by Reichert in his portraits and genre scenes. The oil medium allows for the blending of light and shadow with exceptional precision, creating a three-dimensional effect that brings the figures and textures to life.
This technique is particularly effective in the rendering of the girl’s skin, the softness of her face, and the realistic quality of the dog’s fur. The way Reichert has captured these textures, along with the luminous glow of the lighting, suggests the artist’s deep understanding of both human and animal forms, as well as his ability to imbue each with emotional depth.
The Theme: Innocence and Guilt
The title of the painting, “Zwei schlechte Gewissen,” which translates to “Two Guilty Consciences,” serves as the key to unlocking the deeper meaning behind the scene. At first glance, the girl appears innocent, lost in her thoughts, but the inclusion of the torn rug, the disturbed space, and the melancholic expression on her face all suggest a sense of guilt.
The girl may be reflecting on an action she has taken or a consequence of a decision she made, possibly in connection with the dog or the disruption of the tidy space. The juxtaposition of the dog, calm yet at her feet, further hints at a shared awareness between the two characters, strengthening the idea of an unspoken bond and mutual understanding of the mistake or wrongdoing.
The emotional complexity of the piece is heightened by the subtle, almost imperceptible nature of the guilt the girl feels. Reichert does not make her guilt obvious or overt. Instead, it is suggested through the quiet posture, the disordered room, and the pensive expression. This emotional undercurrent of the piece draws the viewer into a moment of silent reflection, where guilt and innocence exist in a fragile balance.
Conclusion: A Portrait of Moral Reflection
“Zwei schlechte Gewissen” is a striking portrayal of innocence intertwined with guilt, captured in a quiet, domestic moment. Through his mastery of detail and light, Karl Reichert invites the viewer to explore themes of moral introspection and the quiet complexities of childhood. The girl’s contemplative posture, her relationship with the dog, and the slight disturbance in her environment all serve to emphasize the emotional depth of the scene. In this work, Reichert exemplifies the power of portraiture to capture not only the physical likeness of a subject but also the emotional and psychological weight they carry.
This is a remastered digital art old masters reproduction of a public domain image that is available as a rolled canvas print online.
