Forest section 

Editor: Here we have "Forest Section," a drawing of trees made with pencil, chalk, graphite, ink, and etching by Roelant Roghman, its date is unknown, but it can be found in the Städel Museum collection. The starkness of the drawing makes the piece feel lonely, almost desolate. What can you tell me about it? Curator: It is interesting that you sense loneliness here, given that landscape art of the Baroque era served a vital social function, linked to emerging national identities and land ownership. Roghman’s detailed rendering reflects the growing Dutch pride in their reclaimed landscapes. Who, after all, had the right to claim or depict this scene? Editor: So the picture claims something? How do you see this playing out in "Forest Section" particularly? Curator: Precisely! Think about it: what does the style do, and who can afford this artwork and the associated status that comes with it? This detailed style showcased dominion over, and understanding of, the land. Owning it became a political act of displaying Dutch wealth and mastery. Roghman democratized art by way of printmaking for wider appeal. It offered a pictorial assertion of control over nature. Editor: I never would have considered that such a simple sketch could convey this complex political message. Curator: Exactly! It invites us to ponder the relationship between art, power, and environment, then and now. What responsibility do artists have to shape public perception? Editor: I will be considering how landscapes can embody historical power structures moving forward!