Fries met een borstbeeld, bladranken en twee kinderen by Heinrich Aldegrever

Fries met een borstbeeld, bladranken en twee kinderen 1539

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print, engraving

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print

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old engraving style

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figuration

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11_renaissance

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northern-renaissance

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decorative-art

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engraving

Dimensions height 23 mm, width 146 mm

Curator: This delicate print, rendered in the old engraving style, comes to us from Heinrich Aldegrever in 1539. The Rijksmuseum aptly titles it “Frieze with a Bust, Foliage and Two Children." I see it as a charming vignette, full of unexpected combinations. Editor: It’s lovely, there's almost an ancient, slightly irreverent feel. But are they really children or are they plump cherubs? It is not easy to discern their true nature from the image. They seem plucked straight from a fever dream—playing amidst stern portraits and lush, drooping flora. Curator: It's Northern Renaissance decorative art at its finest! Prints like these weren't just decoration; they served as models for artisans. Think metalworkers, furniture makers—whoever needed fresh design ideas. This composition, figuration tangled in foliage, would give them something classical yet playfully original to work with. Editor: Ah, that explains the odd juxtaposition! So, imagine a serious craftsman trying to reproduce these mischievous cherubs, these chubby, grappling cherubs for... say a goblet? Do we know for whom the craftsman designed his art? For the Church, for a monarch, or just to serve the needs of their own creative process? Curator: We can only speculate but such decorations during the renaissance found wide applications: books, tapestries, building ornamentations for an aristocratic, educated public—all reflecting a culture of increased aestheticism. What’s captivating is how Aldegrever blends sobriety, with that serious-looking bust in the center, with such frivolous joy. Editor: You are correct; that tension holds my attention! It is as if the artist wants to convey an eternal truth through light touches, but there remains a certain weight nonetheless. It gives me a bit of hope—art surviving with hints and mysteries—which seems right. Curator: Absolutely! That sense of survival, and translation, resonates deeply. A quiet commentary on cultural resilience. Editor: I'll carry this little burst of contained joy with me. Thanks for unraveling a little of its enigma!

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