A striking woodcut by Dutch architect Karel Petrus Cornelis de Bazel, featuring symbolic figures and geometric composition to critique social structures.

This woodcut by Karel Petrus Cornelis de Bazel, titled Belastingzuigpomp, offers a stark visual commentary on the socio-economic conditions of the late nineteenth century. De Bazel, a prominent Dutch architect and designer, was deeply involved in the Theosophical movement, which often informed the geometric precision and symbolic weight of his graphic work. The composition is divided into two distinct registers, employing a rigid, vertical structure that reflects the artist's architectural background.

The upper register features two kneeling figures facing a central column, which serves as the visual anchor for the text. The figures are rendered with a high degree of stylisation, their forms reduced to essential silhouettes that emphasise the weight of their posture. The lower register depicts a single figure in a bowed, submissive position, accompanied by a circular motif containing seed-like forms. This arrangement creates a sense of narrative tension, suggesting themes of labour, extraction, and the burden of taxation implied by the title.

De Bazel's approach to the woodcut medium is characterised by a deliberate use of negative space and bold, black-and-white contrasts. The lines are clean and purposeful, avoiding unnecessary detail in favour of a clear, symbolic language. The work avoids the ornamental excesses of some contemporary styles, opting instead for a disciplined, almost austere aesthetic. This print is a clear example of the artist's ability to synthesise complex social critique with a refined, graphic sensibility. The R.MVS. stamp at the bottom indicates its provenance within the Rijksmuseum collection, confirming its status as a significant piece of Dutch graphic history. The work remains a compelling study in the use of silhouette and geometry to convey abstract concepts of power and societal structure.