Militairen c. 1822 - 1849

Curator: These narrative prints by Schalekamp & Van de Grampel, dating from 1822 to 1849, are quite compelling, wouldn’t you agree? The material—engraving on paper—creates a stark visual experience. Editor: Indeed. The six vignettes illustrating the lives of soldiers feel so active, almost frantic in their execution. With your Formalist perspective, what elements stand out to you upon inspection? Curator: Notice how each panel, enclosed by a definite border, emphasizes line and shape, creating structured forms, yet the individual narratives remain segmented through framing. The deliberate mark-making of the engraving defines not only forms of soliders and horses but establishes complex patterns within the 'genre paintings', suggesting movement and conflict through these abstract formal means. It’s about seeing how those lines are deployed. Where do you feel those lines lead the eye? Editor: My eye keeps moving between the chaotic action within the squares and the somewhat rigid border that tries to contain it. The contrast in shapes and negative space almost amplifies the sense of frenetic action within. It almost becomes cyclical... what does that imply, if anything? Curator: Does the cyclical movement inherent in the work create a sense of endless repetition of military encounters. Each border serves to restrain and define, forcing the viewer to interpret how these boundaries function, to interpret this dance. Editor: It almost sounds like it wants us to notice that while it might seem the vignettes tell separate tales, there’s a bigger theme—the idea of battle as unending? Curator: Perhaps. Though what do you feel this format lends the tales of militairen beyond that, and to your experience of it as a modern viewer? Editor: I hadn't thought of it like that. The segmentation created by those borders in print definitely makes me look for the link, beyond simply observing the actions! Thank you for highlighting the relationships.