Samaritaanse vrouw 1595 - 1599

Curator: Here we have Karel van Mallery's engraving, "Samaritaanse vrouw," created between 1595 and 1599. The artwork currently resides in the Rijksmuseum. Editor: My first impression is one of serene strength. There's a deliberate calmness to the woman's stance, juxtaposed with the activity around her and that incredible urn she's carrying. The crisp detail of the lines and their direction make for an extremely full yet static composition. Curator: It’s fascinating how Mallery uses a relatively static medium, engraving, to address themes of encounter, gender roles, and potentially subvert social hierarchies present in the biblical story. I can't help thinking of its cultural reception at a time when women’s roles were so heavily policed. Editor: The figure’s directness certainly implies agency and the subversion of old orders. What about the well as a source and signifier? Water here takes on the character of redemption but there are also very real everyday and historical connections to it. It almost performs as an alphabet. Curator: Exactly, and let's not forget the significance of depicting this interaction—Jesus and the Samaritan woman—a direct challenge to contemporary social boundaries between Jews and Samaritans, and especially, between men and women. Remember that women at the time were often restricted in public life. This piece becomes a profound statement about who deserves dignity and respect. Editor: Yes. I see echoes of ancient fertility symbols in the form of her jug. Her figure in itself is an acknowledgement of what sustains us, materially and emotionally, even psychologically. She reminds us that symbols constantly renew their associations. Curator: It seems to ask us to contemplate how far we've come and, equally important, how far we still have to go. Editor: Looking at this print allows me to renew my interest in historical records, and to question how their significance morphs and stays.