Overwinning van Julius Caesar als allegorie op Rudolf I 1589 - 1615

Curator: Here we have Lucas Kilian's engraving, "Overwinning van Julius Caesar als allegorie op Rudolf I," dating from 1589 to 1615, part of the Rijksmuseum collection. Editor: It strikes me as deeply unsettling, a tumultuous sea of figures beneath what seems to be a burning sky. What are we to make of the emotional resonance within such precise lines? Curator: Formally, observe the dramatic use of chiaroscuro. Kilian uses light and shadow to create depth and direct the eye toward the figure of Caesar, or rather Rudolf I, enthroned on horseback, central to the work. Note the balanced yet dynamic composition. Editor: But look closer – beyond the technique. This is not just about Rudolf's glory; it’s about the justification of power through historical narratives. This imagery of Caesar being mirrored to Rudolf serves as propaganda—situating him within a lineage of power, conquest and rule. Curator: Agreed, the engraving serves a clear allegorical function. Yet, the mastery is in how Kilian uses the very architecture of the scene to bolster that messaging; each etched line meticulously placed to build an imposing structure. See how the converging lines focus on the horse’s chest? Editor: I can't help but look to those at the lower right, kneeling with outstretched hands in defeat or supplication, rendered in the same sharp focus. How complicit is Kilian in normalizing the very real-world impact that such leaders had, and that Rudolf certainly wielded in his time? I imagine its contemporary audience recognized these subjugated figures. Curator: True, it elicits some introspection about power then, and by extension, power today. The artist certainly was invested in a symbolic structure that speaks far beyond just his era, in how each line seems perfectly rendered for maximum allegorical effect. Editor: Kilian has given us something powerful in this engraving, both for its intrinsic skill and as a reflection of the relationship between art and power – who is glorified and who is rendered submissive in these meticulously crafted depictions? I'll be thinking about this one for a while.