Gezicht op de achtervijver van Kasteel Rosendael 1718

Editor: Here we have "Gezicht op de achtervijver van Kasteel Rosendael," or "View of the Fishpond Behind Rosendael Castle," an engraving by Jan (I) Smit from 1718. I’m immediately struck by the rigid formality of it all. It feels like peering into a meticulously designed dollhouse, or maybe a stage set. What do you see in this piece? Curator: Well, you've touched upon something key—the theatricality! For me, it's like catching a glimpse of a secret, manicured world. Baroque gardens weren’t just landscapes, they were statements of power and control over nature. Notice the strong lines, the almost mathematical precision... Do you get a sense of the artist's perspective, of where they’re positioned in relation to the scene? Editor: Yes, it looks like the view from inside a building, maybe even elevated. There’s this frame, an architectural element, around the garden view. Curator: Exactly! That frames the whole scene like a play. The building acting as the frame offers a voyeuristic look from "the cabinet near t' Huys" as written at the bottom of the print, creating a sense of distance and perhaps even detachment. And consider what’s included: regimented trees and manicured shrubbery that shows wealth, order and status. How does that formality resonate with you? Editor: I get that it’s about power, but it also feels a bit… suffocating? Like there's no room to breathe, to be wild. Everything is so controlled. It reminds me how social expectations used to impact human actions. Curator: Precisely! And I think it speaks to a tension we often find in art—this push and pull between freedom and order. So much can be learnt just by appreciating different techniques, it encourages imagination to thrive through curiosity. Editor: That tension is so evident. I am beginning to consider it differently now that I've had new perspectives of what is was once. Curator: Exactly, it's those second glances that can lead to great enlightenment.