Odysseus doodt de vrijers met hulp van Telemachus 1632 - 1633

Editor: We are looking at “Odysseus Killing the Suitors with the Help of Telemachus,” an engraving by Theodoor van Thulden made in the early 1630s. I’m struck by the graphic quality, the musculature, the almost theatrical violence rendered entirely in monochrome. What grabs your attention when you look at this print? Curator: Oh, that stark black and white screams Baroque drama, doesn't it? And those figures – all bulging muscles and frantic gestures! You know, the real drama is not just in the slaying, but in the tension. Can you feel that confined space, almost as if it's all unfolding on a stage, trapped and fraught with fear? Van Thulden plays with that negative space so expertly. How do you feel about the expressions of violence? Editor: Absolutely. It's like controlled chaos within these defined architectural confines. Is this typical for the period? The theatrical staging I mean... Curator: Oh, yes. And Thulden would have felt this at his core, given his experience working as a painter and printmaker. Consider the broader European theatre – think Shakespeare – this penchant for heightened emotion, where extreme physicality and philosophical thought collide... Editor: So it is not just action... Curator: No way! This engraving is not *just* about Odysseus seeking revenge, the avenger! What if it's about the moral weight of justified retribution, of taking back what is rightfully yours? This image makes me question assumptions about so called heroism.. don't you think? It lingers... Editor: I agree! It's heavier and less celebratory than I first assumed. I suppose all the classical references carry layers. Thanks! Curator: My pleasure! I had forgotten just how provocative this image really is!