Den stille bølge (L'Onde tranquille) 18th century

Curator: Here we have "Den stille bølge," or "L'Onde Tranquille," by F. de Lorraine, dating back to the 18th century. What strikes you most about it? Editor: The textures, definitely. I am instantly aware of the material nature of this scene. Look how Lorraine has used engraving to capture the roughness of the rocks against the calm surface of the water—the contrast is amazing. It feels both intimate and epic. Curator: Yes, there’s a beautiful dichotomy. It whispers tales of grand landscapes, while making you conscious of the physical labour that produces this print—it must have required intense precision and skill to execute this delicate etching. The way the light catches those mountains... they appear monumental, yet accessible. I feel invited to explore. Editor: Absolutely. And I wonder, how might the experience of artmaking—etching the plate, inking, and printing—have shaped the artist’s own relationship to nature? These repetitive gestures involved in print production, what relationship do they have to the subject that's presented here, this "quiet wave" in nature? Curator: Perhaps it's about finding stillness within movement, a slow process to capture an essence of timelessness. You can almost hear the stillness Lorraine was trying to evoke, right? It's as if the figures placed strategically across the landscape have come to partake in a ritual of shared peace. Editor: Speaking of labour again, I am wondering about these little human figures; some embarking in boats and other simply pausing... Their inclusion subtly points towards society’s interaction with, and possible exploitation of, these natural resources. Where were the raw materials sourced from, and what purposes were they to serve? Curator: Maybe this artwork nudges us towards that direction: finding peace without exploitation, an admiration not derived from consumption, but silent reverence. Editor: I see what you mean, there's a certain harmony that overrides that reading. This print seems to have a quiet potency that makes me reflect on the ever-evolving interplay between material resources and the creative expression through image making. Curator: In all its intricacies, it makes me believe Lorraine had intentions beyond simply portraying landscape; it’s about finding ourselves within that immensity, quiet amid the clamor. Editor: And by observing the craft, perhaps coming closer to comprehending our involvement with this larger world.