Geseling van Christus 1548

Editor: This engraving from 1548, "Geseling van Christus" or "Flagellation of Christ," is by Dirck Volckertsz Coornhert, housed at the Rijksmuseum. The stark contrasts created by the engraving style give it such a raw and brutal feel. What do you make of the theatrical way the scene is staged? Curator: The staging strikes me too! It’s almost like a morality play frozen in time. Notice how Coornhert uses the architectural elements – the arches, the steps – to separate the players and emphasize power dynamics. Christ's suffering is undeniably centre stage, yet Pontius Pilate and his court are literally elevated. Does the rendering of Pilate and his court remind you of something else? Editor: Hmm, I'm not sure, maybe...stage actors? They look so performative. Curator: Exactly! They seem to be in on a sort of ritual that needs an audience for validation, drawing stark attention to themes of justice and mercy. But don't overlook the figures writhing at the base – are they structural or suffering alongside Christ? Perhaps they represent our base instincts, a mirror of the violence being carried out above. The more I consider the engraving, the less stable it feels – its message is like an itch it's hard to scratch! What aspects catch your attention beyond the initial shock of violence? Editor: That’s such a fascinating perspective. The architectural features feel less solid now. The monstrous forms at the base add another layer of turmoil, almost like demons surfacing. Curator: The blend of classical forms and grotesque details gives this work its peculiar unsettling power. So where has this brief encounter left you thinking? Editor: Definitely with more questions than I started with! It feels so contemporary now! Thanks! Curator: Absolutely, these old masters keep teaching me every time.