Fontein met Friese Maagd 1621

Editor: Here we have Pieter Serwouters' "Fontein met Friese Maagd," made in 1621. It's an etching, engraving, and pen drawing of a fountain, but it feels like so much more is happening here. All these figures are milling about! How do you interpret this work? Curator: Well, immediately I'm struck by the blatant civic boosterism. Look how the “Friesche Lusthof”—the Frisian Pleasure Garden—is positioned above the central figures, like a monumental banner. What message do you think that sends, considering the work's intended audience and the social function it serves? Editor: It feels like it's promoting the region as a desirable place to be? Somewhere of joy and beauty. Curator: Precisely. These prints often functioned as visual propaganda, idealizing the region and attracting investment and residents. See how the Frisian Maiden figure merges civic identity with notions of virtuous womanhood. It presents an allegorical face to political ambition, what might that mean? Editor: So, it's not just art for art's sake. It's really trying to shape perceptions of Friesland? Using, almost, this figure as its emblem? Curator: Absolutely. It’s carefully constructed imagery designed to enhance Friesland's public image. And note the detail—it’s not just about open space. It's showing a vibrant society in the foreground; those folks aren't simply relaxing, they are exemplifying society. Who would have such an image on their walls? Editor: That's so fascinating. I hadn’t thought about the social motivations behind what looks at first glance like a simple genre scene. Curator: Considering art's function as civic persuasion, it allows you to understand how deeply intertwined art and society are, what's been learnt here today I wonder? Editor: How art has many goals, this print has shown me how to look past the beauty of art!