Annunciatie 1634 - 1693

Curator: Here we have Jonas Umbach's "Annunciatie," created sometime between 1634 and 1693. It’s currently housed here at the Rijksmuseum. Look closely; it’s an engraving, rendered in pen and ink. Editor: My first impression? A whirlwind of grace, yet the penmanship—I keep thinking of scribbles made in candlelight. Gives it this intimate, dreamlike texture. Curator: That texture speaks volumes about Baroque printmaking. Engravings like these, produced for wider distribution, served as crucial vehicles for disseminating religious narratives and aesthetic tastes to a broader public. Think about the labor: the careful tooling of the plate, the press mechanics...it all influenced how these images were consumed. Editor: Absolutely. And the economy of the lines! Notice how the limited use of ink suggests so much light, especially radiating from the dove above—that delicate beacon. It feels as if the divine message itself is crafted by shadow as much as light, imbuing everything with meaning. Curator: Exactly. And consider how Umbach leverages the black-and-white medium. The contrasts aren't just aesthetic; they mirror the thematic tension inherent in the Annunciation—the earthly meeting the divine, acceptance and awe... Editor: I wonder about Mary, in that moment. So human amidst this swirling, heavenly drama. The drapery is gorgeous, practically its own character onstage. The fabric, pulled into and by the action in an intriguing visual push-and-pull. Curator: Think too about the devotional practices connected to images like this. Beyond simple observation, prints like "Annunciatie" encouraged personal reflection and a deeper engagement with biblical themes, very directly influenced the daily spiritual lives of its audience. Editor: I'm struck by the accessibility this image offered. A directness, despite the formality of the scene. It makes you consider that divine encounter not as some removed event, but as one almost tangible. Curator: I concur. A single ink drawing unlocks many ways of viewing labor, consumption and personal experience in early-modern Europe. Editor: And now it makes one reconsider how light could be created on the cheap by someone using such meager tools. How about that?