Aarde 1628 - 1689

Curator: So, here we have a print called "Aarde," dating back to between 1628 and 1689, by Conrad Meyer. It’s currently held in the Rijksmuseum's collection, a fascinating example of Baroque etching. Editor: Oh, it’s captivating. A slightly dreamlike vista! It has this really quaint and almost fantastical air. The architecture feels grounded, but that feeling is juxtaposed against a wild background scene. How curious. Curator: It certainly captures a sense of its time, a time of great societal changes. Meyer clearly aimed to represent the earth as provider and setting for humankind’s endeavors. Etchings like this became incredibly popular, showcasing landscapes but also indirectly underlining socio-economic status through the depiction of architecture. Editor: I love the storytelling aspect. I get the sense of almost a stage setting. Everything has its place. You've got people strolling with their dogs. This isn't simply a location. It is alive! Did I mention those wispy trees that frame the piece perfectly? It creates depth with just black lines. Incredible. Curator: Exactly! Notice also the positioning of the structure atop the hill. This elevates the stature of those who might inhabit it. We see how the physical landscape is deliberately constructed to bolster hierarchical claims and represent civic pride. And, naturally, it invites questions about access to land, to power. Editor: It's incredible how it almost tells two stories at once; one on top with the opulent structure and one below, in the wilds, of nature still existing. The tension between control and letting go feels ever so present, doesn't it? Curator: A keen observation. Meyer used established printmaking conventions to promote ideologies about humanity and nature’s interactions. This highlights the period’s emphasis on control and display. Editor: It has been quite a ride unpacking its narratives. What might have looked initially simplistic now reveals incredible depths, much like the earth it captures. Curator: Indeed. A deceptively simple print, then, laden with the socio-political baggage of its era.