Panurge bekent aan Triboulet 1716 - 1761

Editor: This engraving, titled "Panurge Confessing to Triboulet," dates to between 1716 and 1761 and is by Pieter Tanjé. It's at the Rijksmuseum. The scene is very theatrical, almost staged. What’s the historical story being told here? Curator: It's part of a series illustrating Rabelais' *Gargantua and Pantagruel*, satirical novels deeply critical of societal institutions. The scene captures Panurge, known for his trickery and anxieties, consulting the jester Triboulet. What strikes me is the performative aspect. Tanjé emphasizes the constructed nature of confession and authority. Editor: Performative… like it’s not a genuine confession? Curator: Exactly. Consider the baroque style—a period of ornate display and political maneuvering. This engraving isn't just illustrating a scene; it's commenting on the very nature of power and truth within that social context. How does Tanjé use composition to underline this performativity? Editor: I see... Triboulet is slightly elevated, like he’s on a stage, while Panurge seems almost…slouching. Is the dog meant to represent Panurge, symbolically? Curator: Potentially! Animals were often used symbolically. However, considering the historical reception of Rabelais, I suspect that animal presence can be intended as sarcastic mockery against high profile elites of the time. How do you think viewers in the 18th century might have understood this scene given the power dynamics of the time? Editor: They might've seen it as a critique of the Church, perhaps? Using humor to question religious authority. Curator: Precisely! By placing this consultation within a theatrical landscape, Tanjé is engaging in a form of social critique through the very act of illustrating literature. Editor: I never would have thought of it that way. Now I’m really seeing how deeply social and political forces were embedded in artmaking!