A horseman galloping towards right with sword in hand, other horsemen in the background, from 'Various cavalry exercises' (Diverses exercices de cavalerie) 1642 - 1645

Curator: This etching, "A horseman galloping towards right with sword in hand, other horsemen in the background, from 'Various cavalry exercises'," by Stefano della Bella, was created between 1642 and 1645. The work resides here at the Metropolitan Museum of Art. Editor: It has an urgent, fleeting quality, doesn't it? The dynamic diagonals create a sense of rapid motion. Though monochromatic, the artist's intricate layering evokes the density of military action. Curator: The symbolic resonance is potent, isn't it? Horses, especially when paired with armed riders, have long served as emblems of power, aristocracy, and military prowess, often echoing themes of valor, duty, and sometimes, aggression. Della Bella composed this series to depict the changing face of warfare during the period. Editor: Notice the emphasis on line. See how the dense, close hatching builds form and volume, particularly on the lead horse and rider, creating a textured surface. The formal simplicity belies the conceptual depth. Curator: These were volatile times in Europe, during and just after the Thirty Years' War, when warfare transformed into more of a disciplined operation with new roles for the cavalry, so its impact is to remind us of conflict as constant state of things. Horses as tools for conflict go all the way back to the chariot. What echoes does this print have for you? Editor: A lot of baroque prints, from battles to allegories of courtly life, aimed to monumentalize individuals as more-than-human, but here we are shown ordinary men executing practiced military tasks with their weapons ready. So there is a realism here, with some idealization. The landscape is almost barren too, contributing to that sense. Curator: This work certainly encapsulates a pivotal transition in the understanding of war. A time when traditions transformed. I see not only individual action, but also of the collective movements. Editor: Absolutely. It highlights both the glory and the mechanical nature of military action at the dawn of modern warfare, I suppose. Something somber and elegant too.