Thermen van Diocletianus 1704

Curator: This is Jan Goeree’s "Thermen van Diocletianus," an engraving from 1704, here at the Rijksmuseum. It's quite intricate, don't you think? Editor: It is. It's really interesting how he's combined architectural renderings with what seem to be symbolic figures. It gives it a rather...dreamlike quality, despite being about architecture. What do you see in this piece? Curator: Well, it strikes me as a commentary on power, memory, and the way dominant narratives are constructed. The ruins evoke the past glory of Rome, of course, but consider the figures present. What stories are being left out of this idealized depiction? Who isn’t being represented? Editor: So you're saying that, despite its grandeur, the engraving might be critiquing something? Like, who gets remembered, and how? Curator: Precisely. Baroque art is rife with political and social messaging, and this piece is no exception. Look at the careful detail given to the architecture compared to the more generic depiction of the people. It’s not merely a record, it’s a statement. Editor: That’s a really interesting perspective. I initially saw it just as a historical record. Curator: History isn't neutral. What do you think Goeree’s inclusion of figures enacting daily life amidst the ruins conveys about his view of that history? Do you see a link between their actions and the looming ruins? Editor: It suggests a continuation, maybe? Even as empires fall, life persists, which connects directly to historical context. Curator: Exactly. It urges us to see the present informed and shaped by the past and by these systems of power. And the choices he makes on who gets to be centered. Editor: It’s made me realize how much more context I need when looking at historical artworks. Curator: And that’s the key, isn’t it? To continuously question the narrative. Thanks for your insights today!