Blad met twee platen: titelprent serie 'Recueil de divers animaux de chasse' en wolf in een val 1740 - 1745

Editor: This print by Johan Eric Rehn, created between 1740 and 1745, features two images: one is a title page for "Recueil de divers animaux de chasse," and the other depicts a wolf caught in a trap. I find the wolf image quite poignant, its desperation evident. What do you make of this pairing, and the context it presents? Curator: The image below exemplifies the complicated relationship humans have always had with nature. In 18th-century Europe, hunting wasn't merely a sport, it was a political and social statement, a theater for demonstrating power. These prints weren't just illustrations, they were luxury items, visual propaganda designed to legitimize aristocratic privilege. Consider the "Recueil" title itself – a collection. What does collecting these animal images signify about humanity's dominion over the natural world at that time? Editor: That's fascinating! It wasn't just about hunting itself, but about visually possessing those hunts too. Does the depiction of the trapped wolf then serve to reinforce this power dynamic? Curator: Precisely. The vulnerability of the wolf contrasts with the curated, ordered scenes on the title page above. Notice the architectural ruin, a symbol of human history and dominion. Rehn presents nature as something to be cataloged, controlled, and ultimately, dominated, fitting a common social narrative promoted by those with access to these expensive kinds of artistic renderings. What happens when wild nature and artifice combine in this image? Editor: I see now that it isn't just a picture of a wolf, but a carefully constructed argument about societal power. The connection to the historical context is eye-opening. Curator: Absolutely, and understanding that context enriches our interpretation of not just this artwork, but also its public role in the shaping of societal norms and values during its time.