Vlucht van de koningin met de prins van Wales, 1688 1689

Curator: Before us is an engraving from 1689 titled "Vlucht van de koningin met de prins van Wales, 1688," or "The Flight of the Queen with the Prince of Wales, 1688." Editor: My initial impression is one of contained chaos. The sharp lines, characteristic of engraving, create a sense of busyness, almost agitated energy in both the scene of departure and the perilous sea journey. Curator: Indeed, the composition is cleverly divided into two registers. The upper scene shows the Queen's escape from London by boat, while the lower depicts her transfer to a French ship headed for Calais. This is no mere depiction, but a visual argument. Editor: I see how the sharp lines enhance the drama, contributing to a narrative quality emblematic of Baroque sensibilities, focusing on emotion and movement. Yet the artist’s use of line seems somewhat inconsistent, diminishing depth. Is it functional, or perhaps due to the printing limitations of the era? Curator: A fine point. Line engravings of the late 17th century, especially those intended as historical records or popular prints, prioritize clarity of narrative over painterly illusion. This particular work sheds light on the Glorious Revolution. The engraving immortalizes the ousting of James II and the desperate flight of his Queen, Mary of Modena, and their infant son. Editor: The expressions of the figures in the boat tell their own story. See the resignation or perhaps fear, etched into their faces. It draws my eye despite the relative lack of tonal variation in the print medium itself. The artist made very specific choices in selecting where to give characters distinct features. Curator: It's also a window into the political climate, signaling the artist's perspective on the legitimacy of William of Orange's ascent to the English throne. Note the specific cityscapes included. London seems a grand place even in escape, while the sea looms as a frightening unknown, hinting at both the necessity and dread of their circumstances. Editor: I now find myself thinking about the piece as more than an account of a political moment; but as a testament to how visual language of composition and line quality communicates under duress, even trauma in times of sweeping societal change. Curator: An astute observation, as our time here concludes, it reminds us that within the sharp, unwavering lines, lie stories of political upheaval, courage, and the enduring power of visual storytelling.