Groep liggende en knielende figuren c. 1640 - 1695

Eloy Bonnejonne made this print of a group of figures in an unknown time and place. The image depicts a cluster of people in various states of distress and repose. Without more to go on, the question becomes: how can we interpret this artwork's meaning and relevance? Well, this image is based on an invention by Rosso Fiorentino, a key figure in the Italian High Renaissance and Mannerism. Looking to the history of the academy, the bodies depicted here, with their exaggerated musculature and dramatic poses, are exercises in the aesthetics of disegno, with a focus on skill and invention. We can also consider the cultural context in which Bonnejonne worked, and how these visual codes were deployed in the service of specific social, political, or religious agendas. By exploring these avenues of research, we can uncover the rich tapestry of meaning that lies beneath the surface of the artwork.