Zes grote monogrammen (AOPQR-ATVXYZ ) c. 1690 - 1691

Curator: This graphic work, titled "Zes grote monogrammen (AOPQR-ATVXYZ )" by Daniel de Lafeuille, dates to around 1690-1691. It’s an engraving, showcasing six distinct monogram designs, housed here at the Rijksmuseum. Editor: Oh, wow! They kind of look like ornate spiderwebs, each spun around a different set of initials. There's an amazing delicacy in those fine lines, isn't there? Almost lace-like, but with this edgy, baroque intensity. Curator: Precisely. Lafeuille was renowned for his skill in ornament design, which catered to the opulence of the late Baroque. His work here functions both as a decorative pattern and a practical template. In that era, the ability to weave elaborate monograms into personal items or architectural designs was crucial, particularly among aristocratic families who wanted to affirm their identities. Editor: You’re right; it’s very tied into the aesthetic and social needs of the time. But still, there's something beyond just utility for me. The repetitive letter forms intertwined—it hints at secret codes, forgotten rituals. Like each monogram is its own universe. Curator: Considering the religious and political climate of that era, it is feasible that these complex forms hold subtle symbolic resonance that has been largely obscured by time. Furthermore, there were debates at that time on how symbols and images may carry and reinforce particular political viewpoints that reflect certain ideas of nationalism. Editor: I guess the joy is in letting your imagination run wild with that idea! Maybe these monograms could’ve been emblems of clandestine societies. Or declarations of love? Perhaps that’s pushing it too far. But the potential for interpretation is definitely there, shimmering under the surface of each swirl and curve. Curator: The beauty is that your interpretation is valid; viewing them simply as a presentation of craft skill minimizes how they speak to their viewers and connect the artwork to a social setting of immense economic inequality. These are potent graphic representations of identity during the late Baroque period. Editor: So much implied in such seemingly simple drawings. Another little journey for the imagination! Thanks for illuminating that, as always!