Opwekking van de dochter van Jaïrus 1861 - 1886

Curator: Here in Gallery 12, we see Hermann Eichens’ rendering of "Opwekking van de dochter van Jaïrus," created sometime between 1861 and 1886. It's a print, offering a compelling vision of the biblical scene. Editor: My first impression? Hauntingly theatrical! The way the light pools on the girl’s face, it’s like a spotlight in a play. Dark room, the heavy drapery... quite dramatic, really! Curator: Indeed. Eichens clearly draws on the artistic conventions of his time, using realism to bring a biblical story into a contemporary setting. Notice the detailed textures. It reinforces religious teachings through art. Editor: Though that style also sanitizes it, don't you think? Removes some of its visceral rawness? Jesus, with perfect hair. Everyone's far too calm, even with a dead girl right there! If that was my child I would be beyond hysterical. But it also really gives a somber, dark feeling... like a gloomy, but magical fairy tale. Curator: The muted palette adds to that somber tone, reflecting a desire to imbue the scene with the gravity it would have carried. It invites viewers to reflect on themes of mortality and faith and on the perceived relationship of man and god. Editor: And it definitely feels staged, doesn’t it? Like a photograph, carefully posed to maximize emotional impact. Curator: Precisely. That conscious staging can be seen as a means to control the narrative, influencing the audience’s interpretation of the event. Editor: Art, life, religion... It’s all performance, isn’t it? We tell stories and, from those stories, decide how to believe and to behave. Thanks for bringing to light these pieces of history that tie us all together! Curator: You’re welcome. Examining these works really is about how those in power seek to create historical record.