De exercitie met schild en spies: de soldaat brengt in drie tijden de spies weer terug in de rustpositie, tweede beweging (nr. 11), 1618 1616 - 1618

Curator: I must say, my initial reaction is that it feels so contained and orderly, like a precise equation in defense. Editor: Indeed! What you are responding to is part of a larger series of engravings and drawings by Adam van Breen titled “De exercitie met schild en spies: de soldaat brengt in drie tijden de spies weer terug in de rustpositie, tweede beweging (nr. 11)”—created sometime between 1616 and 1618. It translates to “The exercise with shield and spear: the soldier brings the spear back to the rest position in three movements, second movement (no. 11)." Curator: It seems the very point of the piece rests upon an attempt to dissect a single moment of action into precise, diagrammatic poses. Editor: Exactly. He meticulously captures what happens as the soldier brings the spear to a neutral position. Beyond pure illustration, Van Breen offers a glimpse into early 17th-century military tactics and training. Consider the cultural context; at this time, military preparedness was crucial for the Dutch Republic. The symbolism extends from nationalistic fervor, alluding to ideas of readiness and the necessity of strict discipline. Curator: I see, then, even the colours might carry intended weight, moving beyond mere decoration. The soft purples, yellows, and muted reds juxtapose almost violently against the metallic, emotionless silver armor. Perhaps alluding to conflict within man himself. Editor: That is a particularly astute reading, even though it's hard to assert precisely which colour symbolisms would obtain in this specific case. He used a pen and coloured pencil technique that seems both exact and dreamlike in its details. The fine lines of the armour against the soft colouring are mesmerizing. Curator: It gives the soldier an odd sense of unreality. What would otherwise be documentation feels distinctly commemorative, maybe even spiritual? Van Breen’s attention is so acute, the work lingers between cold, material analysis and a kind of profound empathy with the historical soldier. Editor: It underscores, again, just how an artist can elevate mundane exercises to a place within both history and the deeper psychological terrain of human action. Curator: In viewing Van Breen’s close study, I’m now feeling less of the initial sterility, and more appreciation for how images like this help to anchor memory.