Gezicht op Brussel, bestaande uit drie delen by Abraham Dircksz. Santvoort

Gezicht op Brussel, bestaande uit drie delen 1640

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print, engraving

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baroque

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print

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old engraving style

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landscape

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cityscape

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engraving

Dimensions: height 433 mm, width 1244 mm, height 428 mm, width 418 mm, height 433 mm, width 411 mm, height 429 mm, width 415 cm

Copyright: Rijks Museum: Open Domain

Editor: This is Abraham Dircksz. Santvoort’s “View of Brussels in Three Parts,” an engraving from 1640 currently housed at the Rijksmuseum. It's quite striking; the tripartite composition combined with the level of detail give the entire artwork a somewhat majestic and overwhelming character. What symbolic meanings do you recognize in it? Curator: Immediately, the triumvirate division hints at a complex layering of perspectives, almost like witnessing the city through different lenses of power: earthly, divinely ordained, and perhaps a strategically controlled view. How do these separate panels affect the continuity of the overall image, do you think? Editor: They almost feel like acts in a play – distinct but linked in a larger narrative. The central panel especially, with the portrait framed by angels and clouds, appears almost separate from reality. Curator: Precisely. Note the central panel and its floating figures above the cityscape. These evoke a celestial endorsement, legitimizing the earthly rule. Observe also, how heraldic symbols – emblems of lineage, authority, and promises – punctuate each section? The recurring motifs point to a specific set of virtues or claims being visually propagated. Does that then influence your reading of the sections featuring the city? Editor: It makes me consider how much of what I'm seeing is literal and how much is designed to project a specific image of Brussels, maybe as a thriving or divinely blessed place. Curator: Exactly. Now consider how the scale of the figures relate to the cityscape and its own place in a landscape. Even with some natural features visible, they exist secondary to a celebration of civilization. These weren’t neutral records, but strategic assertions of identity and power projected through careful image selection. Has it altered how you perceive the piece? Editor: Definitely. I was initially impressed by the detail, but now I realize it's all contributing to a message, building something beyond just a visual representation of the city. Curator: And that, perhaps, reveals the lasting power and continuity that carefully crafted imagery holds.

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