Zinnebeeldige tempel des Vredes, ter herinnering aan de vrede van 1814 by Johannes Hubertus Reygers

Zinnebeeldige tempel des Vredes, ter herinnering aan de vrede van 1814 1814

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relief, sculpture, wood

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neoclacissism

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sculpture

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relief

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sculpture

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wood

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history-painting

Copyright: Rijks Museum: Open Domain

Curator: Well, well, isn't this a stately artifact! We're looking at a wooden relief by Johannes Hubertus Reygers from 1814. The title translates to "Allegorical Temple of Peace, in Remembrance of the Peace of 1814". Editor: It gives off a kind of crumbling grandeur, don’t you think? I am curious about its state of preservation. The coat of arms looks impressive. What material is the drapery made of? Curator: Both sculptural elements are carved from wood, showcasing the neoclassical style. You see the relief in the form of cartouches? It employs recognizable historical heraldry to allude to complex socio-political events. Editor: The neoclassical influence is clear, it speaks of order and the perceived glories of the past. It appears these pieces were created to serve a ceremonial function? I'm struck by how wood, as a relatively common material, is transformed to communicate elite status and power. It is not often we see something that would've been reserved for nobility executed in a relatively modest medium. Curator: Exactly! Carved wooden reliefs like these, displayed in public spaces, aimed to solidify a collective memory of peace. Think of it: after the Napoleonic Wars, the restoration of the Dutch monarchy was a major turning point. These were pieces produced under new patronage circumstances! Editor: So, the choice of material reflects an attempt to disseminate a carefully curated image of authority and peace to a wider public through craft, beyond paintings and drawings on canvas? Was the production outsourced, or can it be linked directly to Reygers himself and a small workshop under his direct supervision? Curator: That is certainly an avenue for further study. But let's remember, too, how something ostensibly celebratory has taken on, over time, this slightly forlorn quality... Editor: Well, I am going to remember to think more about labor and class, thank you! Curator: And I will ponder this curious intersection of propaganda and woodworking... a winning combination!

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