Misverstand en hypocrisie 1768 - 1771

Editor: This is Jean Charles Delafosse’s “Misverstand en hypocrisie,” from around 1770, a detailed engraving held at the Rijksmuseum. It presents two framed allegorical scenes, one above the other. What I immediately notice is the theatrical presentation, almost like stage sets. What are your initial thoughts? Curator: Indeed, the theatricality is key. Delafosse offers a fascinating commentary on the performative nature of public life in the late 18th century. Neoclassicism was ascendant, but this work reveals anxieties surrounding sincerity and authenticity within that movement. What do you make of the placement of the figures "Error" and "Hypocrisy" in relation to architectural embellishments? Editor: I see them sort of trapped in the decor, the snake framing "Hypocrisy" makes it feel staged. But why link Error and Hypocrisy together in this manner? Curator: Delafosse suggests that "Error," with its blindfolded figure, inevitably leads to "Hypocrisy." Consider the Enlightenment’s emphasis on reason and transparency; this engraving critiques the societal pressures that compel individuals to conceal their true selves. Do you see this critique reflected in the artistic style? Editor: Definitely. The rigid lines of the architectural elements contrasted with the swirling details around the figures speak to a conflict between order and artifice. It almost suggests that society, in its pursuit of perfection, fosters hypocrisy. Curator: Precisely! Delafosse uses the language of decorative art to expose deeper societal truths. It serves as a powerful reminder that art is always entangled with the politics of its time. Editor: I see it now! I didn't think engravings could convey so much political commentary. Curator: These pieces require slow looking, always ask: who benefits?