Elisa ziet de hemelvaart van Elia 1643

Curator: Here we have Nicolaes Ryckmans’s 1643 engraving, "Elisha Sees Elijah Ascend to Heaven," part of the collection here at the Rijksmuseum. It’s a scene of dramatic biblical intensity. What are your first impressions? Editor: It feels… staged, almost. The landscape is subordinate to the theatrical poses of the figures. There’s a real tension between the divine spectacle and the earthly experience. It's as if Ryckmans is commenting on power dynamics inherent in witnessing a miracle, as opposed to the miracle itself. Curator: Exactly. And it is very much in the style of Baroque art of the period. But this work isn't really a painting, but an engraving and was, in fact, published. The choice of the medium here also emphasizes this dissemination of knowledge that was typical of the printing press, which gained immense significance at the time. This image, for many people, might have been their only way to experience this important story. Editor: So the printing of biblical stories becomes almost a democratizing force in this era? Making it more available to the broader public? It’s hard to look past the racial dynamics when discussing depictions of divine power. How might viewers have understood the role of faith in a colonial context? Curator: These questions resonate profoundly today, highlighting the continued relevance of these engravings beyond their initial religious intent. Considering these issues, what new insights might this work reveal? Editor: It makes me consider who is made to feel included or excluded in this narrative of power. Even the depiction of Elijah being carried to Heaven leaves others on the ground. Curator: Precisely! This engraving encapsulates a very specific cultural moment, both expanding and limiting the understanding of power through accessible visual media. Editor: Well, considering those issues surrounding it certainly changed the way I saw the piece today, and perhaps those viewing can take the same journey with this work as well.