Die met Icarus vliegt tot aan de Zonnestralen, / Die stort met hem ter neêr, moet naar den afgrond dalen; / Maar die met Dedalus, in all's behoud de middelmaat, / Vliegt veilig over zee, geniet een gewenschten staat 1816 - 1836

Curator: Let's turn our attention to this engraving by De Vri and Van Stegeren Clement, made sometime between 1816 and 1836. The title, rather poetically, is "Die met Icarus vliegt tot aan de Zonnestralen…," which translates to "He who flies with Icarus to the sun's rays…" quite a mouthful! Editor: Woah, Icarus's definitely having a rough day! Talk about a fall from grace, huh? The black and white etching is stark. It’s dramatic, with that ornate floral border creating this weird sense of separation. Is it commentary? Icarus tumbling while the flowers keep blooming… dark. Curator: It speaks volumes about ambition, and the dangers of overreach. Icarus, defying natural limits, is punished. But note Daedalus beside him; the engraving promotes moderation. He who "maintains the middle path flies safely." A clear moral lesson for the time. Editor: Middle path? Sounds boring! Maybe that's the point. The engraving uses landscape so coolly –the falling man takes up all the space and he is more engaging than the other one who actually is okay. I see this wild energy juxtaposed against total placidity... Is there such thing as bittersweetness or am I reaching too much here? Curator: The composition emphasizes this dichotomy: one figure ascendant, the other plummeting. These prints were intended for wide distribution. The narrative provided visual instruction for social conduct. They used classical stories as moral touchstones to educate, often about caution. Editor: That’s intriguing. And the engravers’ craft! Can you imagine carving all those tiny details, the wings, the town, and that poor horse beneath the flying men?! I find myself dwelling on the process - the careful hand that shaped each line. The discipline and skill really bring this moment to life. It does have you thinking on themes of morality for days, though, now that I noticed, huh? Curator: Precisely. The intention to circulate widely demonstrates print's unique socio-political position. It was meant to reach beyond the art world and influence the common man. To impart messages, and underscore the dominant cultural values of the time. Editor: Alright, alright. Well, I must admit, while I tend to ignore anything "dominant", the art does grow on you after a bit. I see you, engravings, with your quaint look, pushing to instill moderation into the viewer. Mission Accomplished. Curator: A potent reminder, certainly, that images are rarely just images; they are embedded in and reflective of the society that produces them.