Landschap met lopende leeuw 1729

Curator: Here we have Bernard Picart's "Landscape with Walking Lion," dating back to 1729. It’s a pen and ink drawing. Editor: The first thing that strikes me is the tension. The lion looks more apprehensive than regal, doesn’t he? Almost… skittish. Curator: Indeed. It's interesting, isn't it, to see the "king of beasts" portrayed with what seems like uncertainty? I mean, consider how lions were usually depicted back then, roaring symbols of power. Picart presents a softer, more vulnerable side. Editor: He looks caught off guard, disturbed from a nap. What strikes me is how this lion is inserted into a minimal landscape. Usually, in Baroque art, nature reflects the emotions, so is his slight distress a mirror of how his kingdom feels, perhaps? Curator: Maybe so. The sparse setting directs all our attention to the animal. This focus amplifies his inner state, whether it's anxiety or simply being startled. His posture communicates so much! Think of the symbolism usually connected with lions, and contrast it with what you feel here. It makes the work more intimate somehow. Editor: Right. And the meticulous pen work adds to that intimacy. Every line seems to capture not just the lion's form, but almost his very essence. His flowing mane is a set of nervous curves rather than proud waves. There's something refreshingly honest about it. It challenges conventional representations. Curator: Picart created the piece as part of a series of studies of animals; one wonders about his feelings toward these subjects. The animal becomes something of an icon. Editor: A reminder, perhaps, that even symbols of power have their moments of vulnerability and are still, simply, animals? And how clever of Picart to capture it in such a way that makes us think about that complex interplay. Curator: Absolutely. A lasting reminder to really look at how we portray power. Editor: Precisely. It brings a welcome dose of perspective, wouldn't you say?