Landschap met figuren op heuvel met bomen by Nicolas Perelle

Landschap met figuren op heuvel met bomen 1613 - 1695

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print, engraving

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baroque

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print

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landscape

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form

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line

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cityscape

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engraving

Dimensions height 243 mm, width 318 mm

Curator: Looking at this engraving titled "Landschap met figuren op heuvel met bomen"—that translates to "Landscape with figures on a hill with trees"—we can see Nicolas Perelle’s rendition of what is likely an imagined baroque scene from sometime between 1613 and 1695. Editor: I’m struck immediately by the sense of wistful melancholy in the work, even though it depicts a pastoral scene. The way the light catches on the leaves feels like a memory, hazy and not fully formed. Curator: That’s a fascinating take. The print medium lends itself so well to conveying these ethereal, almost dreamlike qualities. Considering this work would likely have been consumed en masse, do you think it’s positing a form of longing for a bygone era within its audience? Editor: Possibly. It also strikes me how the landscape—particularly the hilltop with figures—dominates. Given the historical power structures of the time, I wonder if Perelle is subconsciously portraying a sense of dominance or perhaps an idealized view of the ruling class. Are these simply spectators enjoying the picturesque landscape? Curator: It’s a valid interpretation, definitely worth considering how the setting implies social power. I can’t help but feel like the form is deeply related to symbolic traditions, it has those recognizable visual structures to suggest a moral narrative, for example, the imposing castle gate with very low doorway feels heavy with implied social hierarchy. Editor: Exactly! And perhaps Perelle is quietly critiquing that very hierarchy by displaying it as part of an artificial stage, set against the very real backdrop of labor taking place beyond those walls. Curator: It certainly adds to the complexity of interpreting this print. I hadn’t considered this approach, but it really opens up interesting avenues to explore the themes and commentary within the work. Editor: It is a potent example of how landscapes weren’t simply innocent views; instead, they are intricate negotiations of class, status, and memory. Thanks for sharing this image today.

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