David met gekruiste armen in het aanschijn van God 1625 - 1647

Editor: This drawing, "David met gekruiste armen in het aanschijn van God" by Michel van Lochom, created sometime between 1625 and 1647, depicts David kneeling before God. It is done with ink on paper, almost like an illustration from a book. The stark contrast of light and shadow gives it a weighty feel, yet the lines are so delicate. What catches your eye, when you view this piece? Curator: The visual interplay between line and void is quite striking. The artist masterfully employs hatching and cross-hatching to create a sense of volume and texture, particularly in the rendering of David’s robe and the divine cloud. Notice how the composition leads the eye from the lower left, upward toward the apparition of God, achieved through controlled tonal gradation and calculated placement. What do you make of David’s placement relative to his discarded crown? Editor: It is positioned right next to the crown and cape; a physical symbol of temporal power. He is letting go of worldly status to focus on the divine. What's intriguing is the almost ethereal representation of God, contrasting with the very grounded portrayal of David. Curator: Precisely. The distinction serves to highlight the dichotomy between the earthly and the celestial realms. I find it also quite compelling how the artist suggests God’s presence merely through line work. What do you make of that approach? Editor: The minimal lines invite a bit of imagination in creating God's presence. I like how Lochom chose this visual approach, instead of depicting a very elaborate divine presence. It's a subtle and nuanced. Curator: Indeed. The engraving's success lies not only in its meticulous execution, but also its conceptual depth, effectively illustrating the spiritual moment via contrasting artistic choices. A strong connection between the artwork's meaning and medium.