Krokodillenvangst after 1598

Editor: We’re standing in front of Jan Collaert II’s engraving, "Krokodillenvangst," which translates to "Crocodile Catch," made after 1598. It's teeming with life, though perhaps a bit gruesome! The chaos of the scene—all those crocs and panicked figures—makes it a bit hard to focus. What first jumps out at you when you look at this piece? Curator: It's funny you say that, because what grabs me *is* the chaos. It’s like Collaert has taken a Renaissance sense of order and gleefully thrown it into the swamp. Notice how every inch of the space is activated—gesturing figures, the ripple of water. What does it make *you* feel? Anxious? Amused? Slightly seasick, perhaps? Editor: Definitely a little anxious, and I see what you mean! It feels like everything is competing for my attention, which isn't exactly calming! I almost missed the pig running amok. Were these hunting scenes popular at the time? Curator: More than just popular; they reflected a worldview. The natural world, especially exotic places like Africa, were considered a wild and untamed frontier. There's an element of fear but also, undeniably, of colonial bravado. And just think about the circulation of these prints. Editor: So, people might be seeing a depiction of crocodile hunting who'd never go anywhere near one themselves. Curator: Precisely. It fuelled the imagination – and, perhaps, certain ambitions. That is one grumpy pig, isn’t it? I wonder, did it escape? Was it someone's pet? Or simply trying to eat the crocs before the crocs ate it? Editor: It’s almost like a metaphor for the scramble for survival. It makes me see this work differently now—beyond just the visual spectacle, but maybe more about its ideas. Curator: And maybe next time we encounter chaos, whether artistic or real life, we can pause and find the threads, the power struggles, the little escaped pigs vying for our attention!