Hemelvaart van de H. Catharina van Alexandrië 1660

Curator: Here, we have a fascinating engraving from 1660 by Jan van Troyen. It's titled "The Ascension of Saint Catherine of Alexandria," and it's part of the Rijksmuseum's collection. Editor: Oh, my. There's a delicacy to the ink work that almost contradicts the dramatic subject matter. It's... ethereal. Is it just me, or does it almost seem to float off the page? Curator: You’ve nailed it! Van Troyen captured the exact moment of Catherine's ascent, surrounded by a flurry of cherubic figures. It's interesting how the materiality reflects its purpose; consider how the printing process made the image more widely available at the time. This democratized religious iconography in a really interesting way. Editor: Absolutely. The ink, the paper... it speaks of accessibility. But even with mass production in mind, notice the meticulous detailing on the angel's wings. I'm also captivated by how Catherine surrenders into this holy elevator. How about her emotional state in the image? It is pure bliss? Acceptance? A touch of wistfulness perhaps? Curator: Wistfulness! I love that interpretation. Van Troyen understood that even in triumphant religious moments, there's a complex mix of human emotion at play. And speaking of materiality, consider that ink then was produced with a certain process, a social history in each drop! How the guilds controlled production, how certain pigments were worth more... Editor: Fascinating, right? And looking at the composition, the Baroque swirl of bodies lifting towards the heavens… almost a release from earthly bonds, ironically grounded in the materiality of its production. The way they physically lifted, pressed, inked, dried to print…! Curator: Yes, it feels appropriate. You’re left contemplating this image as both a deeply felt experience, and also something tangible, accessible – the weight of the paper grounding the lightness of the subject. Editor: That's exactly it! It is like the weight and levity become essential partners in telling the story. Curator: This piece manages to evoke the sublime in this world—with earthly means and yet manages to feel absolutely beyond this plane of existence. It stays with you after, in both senses.