Maria met Kind omringd door putti c. 1677 - 1692

Editor: We're looking at "Maria met Kind omringd door putti" by Franz Ertinger, dating back to somewhere between 1677 and 1692. It's an engraving, held here at the Rijksmuseum. It has such intricate detail! What strikes me is the balance, but also the exuberance of the figures. What do you see in this piece from a formalist point of view? Curator: The composition is meticulously organized, with the central iconic grouping of Mary and the Child acting as a focal point. Observe how Ertinger orchestrates the surrounding putti to direct the viewer's eye back to the nucleus of the work. The interplay of light and shadow, achieved through precise engraving techniques, models depth and volume. Editor: I noticed the cherubic figures; there's such dynamism in their poses. How would a formalist reading interpret that? Curator: The dynamism, as you keenly observe, injects the engraving with energy, activating the surface of the image. Consider the carefully rendered textures – the softness of the clouds contrasting with the more defined rendering of the cherubs’ bodies. This is a considered approach, the result being to create both rhythm and structure in the piece. Editor: So the contrast enhances the composition? Curator: Precisely. The rigid frame around the central image serves as a strong boundary. By juxtaposing rigidity and freedom within one piece, Ertinger underscores both divinity and humanity. It provides, I would argue, both spatial and conceptual layers within the artwork. Editor: It’s fascinating how just looking at the techniques reveals so much. I learned to appreciate the contrast and energy embedded within the structural components. Curator: Indeed. Through a focused examination of its formal qualities, an engraving reveals a richness accessible through structured visual investigation.