Herme van Priapus, van achteren gezien 1646 - 1670

Editor: This is "Herme van Priapus, van achteren gezien," or "Herm of Priapus, Seen from Behind," a drawing by Hubert Quellinus, made sometime between 1646 and 1670. It’s…well, it's certainly a view we don't often see in classical sculpture! What sort of reading do you give to it? Curator: Consider what Priapus embodies: fertility, prosperity, and protection, often represented with an exaggerated phallus. This drawing, however, conspicuously avoids that direct imagery. Instead, Quellinus focuses on the backside, replacing overt sexuality with... suggestion. Notice the wreath of grapes: are they merely decorative, or do they symbolize abundance and the god's connection to viticulture, thus hinting at the unmentioned? Editor: So the absent phallus doesn’t negate Priapus’ power; it transforms it into something more allusive? Curator: Precisely! Absence can be just as potent as presence in art. It compels us to actively engage with the image, filling in the gaps and constructing our own interpretation of Priapus' essence. The baroque flourished in innuendo: are we meant to focus on that prominent gluteus maximus, rather than what's covered and not shown? Editor: It’s like Quellinus is playing with expectations, using what we know about Priapus to make us think about what isn't explicitly there. Almost subversive, in a quiet way? Curator: Indeed. He’s invoking cultural memory – our collective understanding of Priapus – to create a layered image. A dialogue, you could say, between the visible and the implied. What was typically foregrounded is instead, quite literally, put behind us. Editor: I never thought of negative space carrying symbolic meaning like that. Thanks for pointing it out! Curator: My pleasure! The more you study, the more you begin to see just how vital symbols can be.