Landschap met vijver en twee ooievaars 1603 - 1650

Editor: This is "Landscape with Pond and Two Storks" by Matthäus Merian, made sometime between 1603 and 1650. It's an etching, and it feels so serene, almost like a memory of a perfect place. What stands out to you as you look at it? Curator: The enduring appeal of the landscape hinges on its capacity to reflect inner states. The storks, for instance – traditionally, they symbolize domesticity, faithfulness, and rebirth. Their presence here, amidst the calm water and sheltering trees, suggests a landscape of emotional and spiritual renewal. Do you get a sense of how that might resonate with audiences from centuries ago? Editor: That's fascinating. I guess I was just seeing pretty birds, but thinking about it in terms of “rebirth” makes it much more profound. The period it was created in was riddled with wars, would people at the time be using prints to conjure the sense of calm and peace? Curator: Exactly! These idyllic scenes offered respite and perhaps even subtle defiance against turbulent times. Etchings like these also played a role in shaping national identity and pride in the landscape. This visual language acted as a mnemonic device, recalling shared values, traditions, and a connection to the land. What other symbols do you see at play here? Editor: Well, there's the light. It's like a divine spotlight illuminating this one little area. Maybe suggesting some blessing of this land? It also brings together different symbolic elements present. I never realized how many layers there were to unpack in this deceptively simple landscape. Curator: Precisely. And as the light changes and the meanings of those symbols evolved over time, so too, has our understanding and interpretation of these landscape scenes shifted reflecting our own collective memory and consciousness.