Man op ezel gebonden 1630 - 1648

Editor: So, this etching, "Man on Donkey Bound" by Cornelis de Wael, dates from sometime between 1630 and 1648. It has this sort of everyday-life feel, almost like a snapshot. But what strikes me is the off-balanced composition. What do you make of it? Curator: It’s quite remarkable how De Wael utilizes line in this print, isn't it? Notice the dense hatching and cross-hatching that gives form to the figures and donkey and how it contrasts against the blank spaces, creating light. Editor: Yes, there’s real tension in the juxtaposition of these textured versus untextured areas. The way the lines fade into the background is quite intriguing. Curator: Indeed. The figures and the narrative action taking place seem to hover forward from the planar surface because of that. If we remove the subject from the composition what we are left with are these fields of light and dark – stark abstract qualities – almost like Rothko, if you will allow me to overreach somewhat? Do you agree? Editor: Hmm, I’m not sure I agree with the comparison, but it makes me look at the shapes differently – like individual masses contributing to the larger structure of the scene, the whole point is how those interact and contribute to what you can infer to be a candid Baroque tableau. Curator: And it is in that relationship where the expressive power resides. De Wael uses a formal dynamic to elicit a human response. Editor: That makes a lot of sense. I’m really focusing on how I feel about those interactions now – I am also focusing on the movement between light and dark and the negative space in the print overall. Thanks for making me think about this beyond the anecdotal aspects. Curator: My pleasure. Focusing on the formal relationships within art is paramount to its appreciation. I trust you feel more confident in looking for those aspects yourself now?