Jacht op een struisvogel 1598

Editor: This is Antonio Tempesta's "Ostrich Hunt," an engraving from 1598, at the Rijksmuseum. It feels surprisingly chaotic for such a small print; everyone is crammed into the scene, all trying to kill this one ostrich. What strikes you most about its context? Curator: Considering this piece as a historical artifact reveals some interesting cultural biases. Hunting scenes were common, but ostriches were exotic, signifying foreign lands. Prints like these helped circulate European power fantasies. Who were the intended viewers? Editor: Presumably wealthy Europeans, wanting to feel worldly. How did its Baroque style contribute? Curator: The Baroque is evident in the drama and movement – the exaggerated gestures and expressions. But look closer at how the hunters are dressed. Do their clothes seem 'historical' to you, or are they costumed to represent generalized "Eastern" types? Editor: I see what you mean; it's more about constructing a narrative than historical accuracy. So, the “history” being painted isn't exactly true history...it’s more like history being put to work in support of European social and political imaginaries of the day? Curator: Precisely. And who controls those representations? Examining Tempesta's choice to depict the hunters' apparent skill and the ostrich's wildness reinforces Europe's self-image as rational and dominant. Editor: That's a good point. The composition definitely pushes the viewers to root for the hunters. I’d always considered hunting scenes a benign snapshot of historical moments, but I can now see how it contributes to larger narratives about power. Curator: Exactly. Reflecting on the print as both a representation of a hunt, and also its role in society back then has been eye-opening for both of us, I suspect.