Tragedie 1772 - 1779

Curator: Welcome to the Rijksmuseum. We are standing before Jean François Janinet's "Tragedie," an engraving and etching rendered between 1772 and 1779. Editor: It's quite striking. My immediate thought is how theatrical it feels, almost like a crest or a meticulously arranged stage prop. The sepia tones give it a feeling of antiquity. Curator: The artist indeed amassed allegorical objects to form a visual representation of tragedy. The arrangement and meticulous etching technique amplify the work’s thematic concerns. Do you notice the strategic juxtaposition of items? Editor: The armor, weapons, and even the musical instruments… they aren't just arranged, they are intertwined. It is visually overwhelming; there is a great deal of stress. It reflects the chaos and ultimate failure found in tragic narratives. How might we contextualize Janinet's approach? Curator: Janinet was working during a time of great social and political change, and the concept of tragedy was being re-examined in light of Enlightenment ideals and the coming French Revolution. Editor: So, is it commentary on the traditional, even romanticized view of tragedy in art? The jumble almost satirizes grand depictions of historical events that dominated Baroque history paintings. It is in complete defiance of French Royal Academy doctrine. Curator: One could argue it suggests the weight of history. But through formalism, you can also see how the artist employs symmetry while embracing organized clutter. The lines and shapes themselves suggest both structure and turmoil. Editor: That makes me see a larger perspective. Thinking historically, one could also suggest that Janinet is commenting on the theater of power itself, reflecting the period when institutions were both celebrated and scrutinized. It could imply impending doom of systems. Curator: Precisely. Art continually adapts the conversation; "Tragedie" functions both within, and as critique of, those historical narratives. Editor: It's a work that really benefits from this close consideration. Curator: Absolutely, an amazing work of material and conceptual depth from Janinet.