Pomona 1564

Editor: This is Cornelis Cort's "Pomona," an engraving from 1564, now at the Rijksmuseum. It's fascinating how he rendered the texture of the fruit and fabric. There's this sense of abundance, but also something very formal and posed. What do you make of this depiction? Curator: Cort's "Pomona" provides insight into the socio-political functions of art during the Mannerist period. We see an idealized female form representing the Roman goddess of fruitful abundance, Pomona, but that very idealization reflects the patronage system of the time. Editor: Patronage system? Curator: Yes, engravings like these weren’t just aesthetic objects; they were vehicles for social mobility and displaying power. Consider, for whom would this image have been made, and how might it function in their lives? Editor: Hmm, it makes me think about wealth, and being in harmony with nature. Like a noble trying to show their control over the land? Curator: Exactly! Think about the specific visual choices as symbolic of control and prestige: the overflowing cornucopia, the cultivated orchard, the calm and powerful goddess herself. Even the act of creating and owning such a print showed awareness of classical knowledge and humanist ideals, further cementing the patron’s status within their social circles. This image is less about nature and more about constructed images of power. Editor: So, even this seemingly simple engraving is deeply embedded in the social and political context of its time! Curator: Precisely. Recognizing that artworks such as these functioned as vital components of the image economy reveals that they did so much more than sit passively on a wall. We're left wondering about the intended viewers and spaces of display; images like "Pomona" created exclusive communities of cultural and social meaning. Editor: It changes how you look at it completely. Thank you for illuminating all that!