A Black Beetle 1650 - 1702

Curator: Welcome! Before us we have "A Black Beetle" crafted between 1650 and 1702 by Vincent Laurensz van der Vinne, residing here at the Met. It appears to be a study done with drawing, watercolor and perhaps even colored pencil, or printed to be a single product. Editor: It’s a little unnerving actually, how boldly the beetle is presented against that indeterminate beige backdrop. There's a strange formality in its posture, as if it were a tiny, armored knight posing for a portrait. Curator: Note how van der Vinne employed a keen eye to capturing its structural complexities: Observe the segmented abdomen and precise linework defining its exoskeleton. Editor: Indeed. And the beetle, often seen as a symbol of resurrection and transformation, even a solar symbol linked to the Egyptian god Khepri…is reduced to just anatomy? Or do you feel the association remains present nonetheless? Curator: The application of watercolor creates a limited palette, grounding the work and providing some texture, and despite this scientific illustration being rooted in observation, there seems to be some interpretation or even projection of intent via Baroque-era aesthetic. The off-centered posture and placement create depth without excessive perspective. Editor: I still can’t help but feel like this creature represents resilience, persistence. We always perceive this “small” creature to be unkillable or even dangerous despite the scale or frame given by van der Vinne, whose use of perspective only exaggerates a human scale and hierarchy. Its darkness emphasizes not only shadow, but some form of hiddenness. Curator: Yes, its simplicity—the near-monochromatic quality—almost anticipates minimalist abstraction. Editor: An interesting point. Ultimately, van der Vinne provides something both visually and conceptually fascinating. Curator: It does suggest further readings based on cultural and aesthetic trends and expectations, indeed.