Val van Jericho 1675

Editor: So, here we have "Val van Jericho," a 1675 engraving by Pietro Aquila. Looking at this print, the thing that strikes me most is the energy of the composition. There’s a real sense of forward movement created by all these figures. What’s your take on this piece? Curator: The orchestration of line is certainly dominant. Note the careful hatching used to define musculature, especially across the backs and arms of those laborers hauling the beams. Also, attend to how the artist varies line weight to suggest depth; those figures further away are rendered with finer, less distinct marks. Editor: That’s interesting. I hadn’t really considered the use of line weight so deliberately. The crumbling architecture in the background seems to also contribute to a sense of chaos, doesn’t it? Curator: Precisely. Observe how the engraver juxtaposes the crumbling walls of Jericho, realized through broken, irregular lines, with the relatively smooth, consistent lines defining the bodies of the soldiers. This formal contrast underscores the disruption of order inherent in the subject matter, the siege itself. Note, however, the regimented rows of the figures contrasted to that crumbling architecture which offers a conflicting sense of chaos against that human intention. Where do you see other formal contrasts at play here? Editor: Maybe in the use of light and shadow? The figures seem to emerge from a darker ground. I guess it spotlights them and enhances the drama? Curator: Yes, consider how the interplay of light and shadow contributes not only to dramatic effect but also to the illusion of three-dimensionality on a two-dimensional surface. Ultimately, the network of these visual relations defines the essence of the piece. Editor: I see, I’m starting to see that all of these separate aspects add up to reinforce the message. Thanks, that was illuminating. Curator: My pleasure, every viewing brings about new observations and realizations about a works intrinsic structure.