Geseling van Christus 1625 - 1670

Editor: So this is Mattheus Borrekens's "Geseling van Christus," made sometime between 1625 and 1670. It's a print, currently held at the Rijksmuseum. Initially, the cropped view of bodies is rather jarring and strange; the dramatic rendering of muscles is rather confronting too. What do you see when you examine this piece formally? Curator: What immediately strikes me is the compositional arrangement, which forsakes a traditional, comprehensive vista for a highly focused presentation. Observe the strategic cropping. The composition directs our attention, creating an immediate, visceral engagement with the represented physicality. Note the play of light and shadow across the figures’ limbs; Borrekens employs chiaroscuro to sculpt volume and convey texture. The figures are delineated by strong contours. How does the interplay of line and form contribute to the artwork’s emotional impact? Editor: It’s very unsettling – a mix of hyper-realism with brutal distortion. The focus on the lower parts of the bodies creates some tension for the viewer. The clean, curving lines on the bodies, and harsh geometry in the architecture behind feels unnatural. I guess the contrast emphasises the violence happening to them, almost in the shadows? Curator: Precisely. The geometric rigidity in the background enhances the sense of confinement. Furthermore, contemplate the engraving's materiality; Borrekens masterfully uses line variation to evoke the textures of skin, cloth, and stone, creating a rich tactile experience for the viewer. Editor: So the printmaking technique becomes a key part of how we experience and understand this depiction of the flogging of Christ. I wouldn't have thought about it like that. Curator: Exactly. The very medium shapes our understanding. Looking closely can open up hidden narratives encoded within the artwork’s formal elements. Editor: That's definitely given me a new perspective to explore with other artworks too! Thanks for that.