Kuisheid overwint Liefde 1550 - 1625

Curator: Here we have an engraving entitled "Kuisheid overwint Liefde," or "Chastity Overcoming Love," which we attribute to Pieter Jalhea Furnius, dating sometime between 1550 and 1625. It’s currently held here at the Rijksmuseum. Editor: It's quite stark. The central figure is dominating, and the fallen figure of Love feels almost defeated. It is an interesting juxtaposition that relies on precise, calculated line work to show the conflict. Curator: The artist employs a very linear style typical of engravings, creating contrasts between light and shadow. You notice that Chastity is literally stepping on a prone Cupid, and she's holding a bridle or snare that implies the taming or suppression of love. We can relate this to a wider context that debates the conflict of sensual, carnal vs spiritual aspects of life. Editor: Yes, the engraving medium itself speaks to this rigidity and control. Think about the labor involved – each line carefully etched. It’s the antithesis of spontaneous, uncontrolled emotion. But that landscape in the background feels unresolved somehow. Curator: True. The cityscape contrasts directly with the nature on the foreground. The artist likely drew on established allegorical motifs prevalent during the Renaissance and early Baroque periods, especially among the Northern European workshops to depict the Triumph of Chastity. Editor: This use of allegory is also interesting to read visually as a semiotic sign; we have learned conventions about Cupid being helpless or defeated in order for Chastity to be triumphant. The composition makes extensive use of iconographic language. Curator: And beyond its formal construction, consider the social commentary— a didactic visual intended to enforce norms about love, desire and spiritual control? What does the print tell us about power dynamics, and maybe its consumption was about demonstrating societal values through decorative display. Editor: It's fascinating how the choice of such a demanding and controlling medium seems to echo the message of restraint and repression it attempts to portray, as well. So many careful lines composing such deliberate subjugation! Curator: Indeed. Exploring it through the lens of labor and materiality really enriches the narrative and symbolism displayed here. It has certainly left me to question both the beauty and messages within. Editor: And examining the structural balance, along with symbolic and iconographic use, makes this an artwork that invites more debate with each close examination.