Tekstblad over de Beeldhouwkunst 1693

Editor: This is "Tekstblad over de Beeldhouwkunst", a 1693 print by Charles Perrault. It’s basically a page of text, with the print medium emphasizing the typography. The page feels pretty formal to me; what strikes you about it? Curator: I notice the overt attempt to solidify the cultural position of sculpture relative to other arts. The text praises the sculptors of the time, suggesting that sculpture is exceeding classical precedents, visible particularly in the gardens of Versailles. What we see here isn't simply an appreciation of the art form, but an attempt to elevate the status of modern artists within a broader cultural and political landscape. Notice the social function assigned to Versailles: to impress viewers with examples of outstanding artistry. Editor: So, the location itself – Versailles – becomes a kind of endorsement? Curator: Precisely. The text posits that by simply strolling through the gardens, one encounters irrefutable evidence of sculpture's greatness. It intertwines aesthetic appreciation with the socio-political power of the monarchy, presenting the sculptures not merely as beautiful objects, but as testaments to the King’s cultural influence and to the grandeur of France itself. The mention of "ancient figures" hints to the debate whether contemporary sculpture has succeeded in surpassing the excellence of antiquity. Does the print, displayed or distributed, invite readers to critically assess French and antique works, as a mean to validate the statement, and align themselves with this viewpoint? Editor: That’s fascinating, thinking of this as active cultural positioning, not just aesthetic admiration! It puts the art within this bigger power play. I’ll never look at Versailles the same way again! Curator: Indeed. Considering artworks in this context of their active and public role unveils complex motivations that might otherwise remain invisible.