De Matigheid 1677 - 1755

Curator: This drawing, attributed to Elias van Nijmegen, titled *De Matigheid*, uses ink on paper and was created sometime between 1677 and 1755. Editor: This piece has such a gentle, flowing quality, created through the artist's line work, with gentle pastel watercolors filling in the subjects. What draws your eye when you look at it? Curator: Immediately, it is the implied geometry created by the figure’s accessories – the square in her hand, balanced against what appears to be a level, evokes a sense of calculated harmony. How do these geometric forms contrast with the other aspects of the composition? Editor: They certainly contrast with the flowing drapery and the soft forms of the cherubic figures, creating visual friction. Curator: Precisely. Notice how the artist uses line—almost a sketching approach—to define form, yet also allows the paper itself to act as a void. The application of pigment thinly veils these forms, and note how that economical application affects your perception. Does this economy amplify the symbolic austerity of the figure? Editor: It does. There’s a delicate balance struck between opulence, represented by the draped cloth, and the control and moderation suggested by her level. Is this artistic economy itself a representation of 'matigheid,' of temperance? Curator: That’s an astute observation. The artwork then transcends mere representation, becoming an enactment of its subject. The artist seems to deliberately guide our gaze and thinking through the visual architecture. Editor: So, rather than just depicting temperance, the artwork's own structure embodies that idea, demonstrating how artistic choices can underscore conceptual meaning. That makes this miniature far more sophisticated than initially meets the eye. Curator: Indeed. It showcases how formalism opens up many possible layers of artistic interpretation and meaning.