Lazarus' opvækkelse. Omgivet af Holger Rosenkrantz' aneskjolde 1644

Editor: This engraving from 1644 by Hans Andreas Greys is titled "Lazarus' Opvækkelse. Omgivet af Holger Rosenkrantz' aneskjolde", which translates to "The Raising of Lazarus, Surrounded by Holger Rosenkrantz’ Coats of Arms." The stark black and white lines create such a dramatic scene. What's your interpretation of the relationship between the central scene and those numerous coats of arms? Curator: From a formal perspective, the arrangement commands our attention. Notice how the central scene, depicting the biblical event, is framed by heraldic shields. Greys employs contrasting textures and values to differentiate the planes of pictorial space, almost like architectural structures or portals surrounding the event, setting Lazarus's rising at a distance. What is the affect of this method? Editor: The framing makes the central figures feel enclosed, maybe even observed. But isn’t it also a means of ennobling the subject? Like giving Lazarus and Jesus noble protection? Curator: Precisely. The use of line becomes critical here. Observe how the dense, cross-hatched lines within the central scene create a sense of depth and shadow, while the heraldic shields utilize clean, precise lines that isolate each family. There is contrast of drama versus social power. It calls our attention to the artist's formal arrangement. Editor: So the visual contrast is purposeful, emphasizing both the divine miracle and the earthly power structures, making one look more striking when placed beside the other. The artist used line, the texture and composition to point out how those differ. I've never thought about approaching it that way. Thanks for helping me examine that. Curator: Absolutely. Understanding the artist's formal choices can offer insight. The framing works structurally as well, as those visual layers lead one's eye into the very deep meaning that we see emerging right at the center, doesn't it?