Gezicht op Oberwesel, met links Schönburg c. 1694 - 1697

Editor: This is Pieter Schenk’s "Gezicht op Oberwesel, met links Schönburg," an engraving dating from around 1694-1697. It feels very ordered and controlled. What stands out to me is the depiction of this very civilized, almost storybook version of the town set against such imposing architecture. What do you see in this piece? Curator: It's fascinating how Schenk uses the relatively new medium of printmaking to construct a very specific narrative. These cityscapes weren't just documentation; they played a vital role in shaping perceptions of place, power, and cultural identity, and in turn, were supported by cultural institutions of that time. Think about the intended audience. Editor: Someone wealthy enough to collect prints, probably, or someone involved in trade and politics? Curator: Precisely. This image, replicated and disseminated widely, contributed to a constructed image of the Rhine region, connecting to power through representing trade and influence in the area. Do you notice any symbols? Editor: The imposing castle above the town? The way it dominates the skyline? Curator: Exactly! That placement reinforces a social hierarchy but does the church have power? How about the shipping vessel and water-based commerce, which brings wealth to Oberwesel? It highlights the way political forces worked to project very specific intentions using printed art, reinforcing cultural expectations and control. What did you think of Schenk's decision to emphasize the architecture? Editor: I hadn't really thought of it in those terms before, of it working within larger power structures, rather than a sort of standalone creation. Curator: Precisely! And now consider that even the act of commissioning and collecting such images became a performance of power and taste. Editor: That totally changes how I look at the piece!