Zoo ziet men groote lieden ryden, / In koetsen, op 't gebrek te myden [(...)] by Johan Noman

Zoo ziet men groote lieden ryden, / In koetsen, op 't gebrek te myden [(...)] 1806 - 1830

print, engraving

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portrait

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narrative-art

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print

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old engraving style

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figuration

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romanticism

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line

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cityscape

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genre-painting

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engraving

Curator: I believe what we have here is a historical genre painting. Editor: That’s right. We’re looking at a print titled "Zoo ziet men groote lieden ryden, / In koetsen, op 't gebrek te myden [(...)]" by Johan Noman, created sometime between 1806 and 1830. It's a pretty detailed engraving depicting horse-drawn carriages. It looks like a commentary on social class, maybe? What's your take? Curator: That's an astute observation. Considering this was created during a time of significant social change in Europe, following the French Revolution, this piece certainly reads like a visual commentary on social hierarchies and the burgeoning middle class. Editor: How so? Curator: Well, notice the contrast between the two carriages. The top one seems more elaborate, enclosed, suggesting wealth and status. While the lower one is open, carrying what appears to be a group of common people. The accompanying text reinforces this contrast. Think about the role of visual imagery in shaping public opinion at that time. How do you think images like these would have been received? Editor: It does seem like a subtle critique. The print seems to imply the wealthy try to avoid problems while those in the open carriage simply enjoy life, and perhaps even laugh at the rich? This may signal the beginning of a Romantic rebellion against the rationalism of the Enlightenment and its glorification of the upper class. Curator: Exactly! It encourages viewers to consider their own place within this social framework. What might this work say about how the *politics* of imagery plays into solidifying or breaking down social barriers? Editor: It's fascinating to think about this print as a form of social commentary through art, aimed toward accessibility, perhaps, among different classes in society. Curator: Precisely. The very act of mass-producing and distributing such imagery was itself a democratizing force! It makes you think about the role of art as public discourse. Editor: Definitely gives me a fresh perspective! Thanks.

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