Titusbuen 1603 - 1661

Curator: Jan Gerritsz van Bronchorst’s etching, “Titusbuen,” likely made sometime between 1603 and 1661, invites us to contemplate the ruins of a grand, perhaps idealized, cityscape. The work is held here at the SMK. Editor: It has a somewhat melancholic feel, doesn't it? The stark contrast in shading really emphasizes the crumbling structures. I see two figures in the foreground – are they simply passersby, or perhaps symbols of humanity's fleeting presence against the backdrop of historical decay? Curator: It's insightful of you to point that out. The architecture takes center stage here, a play between light and shadow. The actual Titus Arch in Rome was a monument to Roman imperial power. To show it decaying serves the question on whose power benefits? Editor: Absolutely, it could be a critique of power, a commentary on the impermanence of empires. What was Van Bronchorst's intention? The etching emphasizes the picturesque decay—rather romantic in a way, considering Baroque art’s tendencies toward drama. Curator: Considering its creation period, after the reformation and as other European powers wrestled for position, Van Bronchorst's exploration serves as a critique on religion's grip and Roman power. The focus on landscape also makes this about natural forces and its toll over human achievements. Editor: You’re right, its about a shift in what is prioritized as 'powerful.' Did the process of etching itself - a medium known for detail, allow him to engage critically with concepts of memory and time? Did it invite a more inclusive audience, outside wealthy patrons to participate in interpreting shifting views and ideology? Curator: Very likely. Prints allowed broader audiences to have access to art and ideas. Displaying architectural decay subtly questioned power structures, opening dialogues in public and academic spheres. Editor: Exactly, democratizing art. Considering those dialogues, Bronchorst doesn’t portray Titus’ arch triumphantly; rather it questions triumphant moments. It makes us remember history isn't made from conquerors' viewpoints but about understanding it from all sides and impacts. Curator: The decaying monuments certainly serve as silent critiques, resonating with broader themes in Early Modern Europe's ever-changing power paradigms. Editor: Indeed, "Titusbuen" gives more than a glimpse into physical spaces and structures. It opens up broader views to understand changes in European society from new vantage points.