Thisbe bij het lijk van Pyramus 1628 - 1680

Editor: Here we have Ferdinand Bol’s “Thisbe bij het lijk van Pyramus,” created sometime between 1628 and 1680. It’s currently housed here at the Rijksmuseum, and was created using pen and brown ink. The scene is tragic. I'm really struck by the composition; it is as if all the lines of the sketch direct us to the body on the ground. What is your take on this work? Curator: What compels me in this image is the articulation of space through line and shadow. Bol’s adept handling of brown ink transcends mere representation; it actively constructs the emotional architecture of the scene. Note the contrast, for instance, between the delicate hatching defining Thisbe's form and the bolder, almost frantic strokes delineating Pyramus’s lifeless body. What might that suggest to you about Bol's formal intentions? Editor: It sounds like you're saying he’s intentionally used the qualities of the ink to emphasize the despair and the stark reality of death? Curator: Precisely. Observe too, the stark geometry of the architectural elements against the fluid, organic rendering of the figures. The strategic deployment of these formal contrasts doesn't merely depict a scene, it seeks to invoke a palpable sense of grief. Do you see other contrasts playing out? Editor: Now that you mention it, yes. There's a definite contrast between the light and dark tones, creating depth, but also drawing the eye to the crucial elements of the composition, like the figures of Thisbe and Pyramus. Curator: Indeed. These elements aren’t just aesthetically pleasing, they’re functional, guiding our emotional engagement with the artwork. Editor: That’s fascinating. I had not considered how intentionally Bol might have used the composition and medium to heighten the emotional impact of the scene. Curator: Exploring Bol's strategic formalism unveils a richer and more poignant understanding of his intent.