Wijwaterbak met Jonas en de Walvis c. 1657 - 1661

Editor: This is "Wijwaterbak met Jonas en de Walvis," or "Holy Water Font with Jonah and the Whale," a print by Jean Lepautre from around 1657 to 1661. I’m really drawn to how Lepautre created such detail using engraving. What’s your perspective on this elaborate design? Curator: The image’s appeal lies, undeniably, in its compositional complexity. Observe the intricate balance between the central scene of Jonah, overwhelmed in curvilinear waves, and the orthogonal stability of the surrounding architectural frame, crowned with cherubic figures. The use of line is paramount, dictating both form and value; consider the contrast between the densely hatched areas and the open, airy spaces that define the contours. Do you note the internal rhythms established by the repetition of circular motifs—from the frame itself to the swirling waters within? Editor: Yes, the circles definitely lead your eye around the artwork! Does the fact that it's a print, meant to be reproduced, affect how we should look at it? Curator: It compels us to focus on the reproducible elements—line, form, and structure—as the primary means of conveying meaning and aesthetic value. The very act of reproduction reinforces the primacy of these visual elements, underscoring the artist's meticulous control over composition. How does the interplay between the narrative moment of Jonah and the decorative excess of the baroque frame affect your interpretation? Editor: I think it adds to the drama, making it both a religious scene and a real spectacle! I hadn't really thought about focusing so much on the lines themselves, rather than what they depict, but that makes perfect sense. Thanks! Curator: Indeed. Understanding the visual syntax, or what Roman Jakobson would call its distinctive features, opens new perspectives.