Philippus II van Macedonië en Alexander de Grote op 17-jarige leeftijd in de strijd tegen Thebe c. 1655 - 1665
drawing, pen
portrait
drawing
landscape
figuration
11_renaissance
coloured pencil
pen
history-painting
italian-renaissance
Dimensions: height 401 mm, width 302 mm
Copyright: Rijks Museum: Open Domain
Editor: This drawing, made with pen and coloured pencil, is titled "Philippus II van Macedonië en Alexander de Grote op 17-jarige leeftijd in de strijd tegen Thebe" by Leonaert Bramer, dating back to around 1655-1665. I am really drawn in by the overall composition, but it also feels unbalanced because the horses in the lower register are depicted in much more detail. What stands out to you when you look at it? Curator: Indeed. Notice first the contrast between the density of line in the foreground battle and the open, undefined sky above. It pushes the event downwards. Second, consider the layering: Bramer uses varied line weights to suggest depth, though somewhat unsuccessfully. Why do you think this is? Editor: Is it because the figures in the background seem so flat and less defined compared to the figures in the foreground? Curator: Precisely. Observe how the formal tension between precise lines and a perceived flatness is at odds, destabilizing the drawing’s representational coherence. This effect undermines the classical aspirations typical of the Renaissance, where harmonious perspective was valued. Does it strike you as an intentional decision? Editor: Possibly, I mean, maybe the figures are intended to fade off into the horizon in a natural way and it simply failed to render as intended... Curator: The visible strokes might reflect not just technical skill but Bramer’s deliberate engagement with artistic conventions. What could these inconsistencies suggest about the nature of representation itself? Editor: That's true, these kinds of subtle compositional aspects create more nuance that I think I had previously assumed was even present. I guess I was quick to assign a sort of artistic failing or amateurism rather than thinking of artistic vision. Curator: Such visual strategies can destabilize and deconstruct pictorial depth. This may push viewers toward greater conceptual involvement. Thanks for helping me examine the formalism today, our conversation has highlighted just how little nuances are truly hidden once we consider a new viewpoint.
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