Jan van Schaffelaar springt van de toren, 1482 1853 - 1861

Editor: This ink drawing, "Jan van Schaffelaar springt van de toren, 1482," made between 1853 and 1861 by Jan van der Veen, has a rather somber tone. What historical narrative do you think this work speaks to? Curator: This piece, while seemingly a straightforward historical depiction, carries significant weight when we consider its sociopolitical context. Van der Veen chooses to illustrate a story of self-sacrifice. How do you think a 19th-century audience might have interpreted this act of defiance and martyrdom? Editor: Possibly as a reflection on their own struggles and desire for liberation? Curator: Precisely! In the 19th century, national identities were being forged and re-forged across Europe. Historical events became powerful tools for creating a sense of shared past and common destiny. Think about the Dutch Golden Age and its aftermath. Van Schaffelaar’s sacrifice becomes symbolic of national resilience against foreign oppressors. His jump wasn’t just a physical act, but a symbolic one – a rejection of tyranny, in this case, the enemy troops that were surrounding the tower. It raises a critical question: who gets to write history, and whose stories are elevated to the status of national myth? Editor: So it’s not just about the event itself, but about who it serves and what power structures it reinforces? Curator: Exactly. What appears as romantic heroism on the surface is also entangled with power dynamics, collective memory, and the construction of national identity. Moreover, consider the ethics of remembering conflict; this representation doesn't include narratives of resistance against injustice during the historical period it depicts. Whose story remains untold? Editor: This reframes my perspective. It makes you question how history and heroism can be tools used for nationalistic projects. Curator: I'm glad. Remember to question everything!