Gezicht op de Parterre en de Bassin de Tibre van het paleis van Fontainebleau 1726 - 1743

Editor: So, here we have “View of the Parterre and the Tiber Fountain of the Palace of Fontainebleau,” made between 1726 and 1743. It's an engraving by Jan Lamsvelt. It feels very staged and… well, busy! What jumps out at you when you look at this, in all its Baroque glory? Curator: Oh, my dear, "busy" is just the starting point! To me, this image whispers of power, doesn't it? Every meticulous line screams of control—nature manicured, society ordered, and perspective… Well, that’s skewed to showcase it all. The little figures are scattered so strategically, like players on a stage set, aren’t they? Do you notice how the architecture practically bristles with significance? Editor: Yes, it feels almost… artificial? Like a theatre backdrop rather than a lived-in space. I mean, I can see the people, but they’re almost part of the landscape. Curator: Precisely! They are swallowed up by the immensity of the design. That, to me, speaks volumes. Think of the period: absolute monarchs flexing their muscles, translating power into stone and meticulously sculpted shrubbery! This isn't just a garden, darling; it’s a statement. And, in a funny way, even with all the activity, it feels quite lonely, don’t you think? A sort of beautiful isolation. Editor: That’s an interesting way to look at it! I hadn't really considered that contrast. Curator: Art opens up new perspectives with every glance, doesn’t it? I love how Lamsvelt used these lines to showcase something very unique for that period. Editor: Yeah, it gives me something to consider with Baroque art, something more complex than just grandiosity.