Jakob zegent zijn zonen / Begrafenis van Jakob 1716 - 1791

Editor: This is "Jacob blessing his sons / The burial of Jacob," an engraving by Pieter Tanjé, sometime between 1716 and 1791, here at the Rijksmuseum. The stark lines of the engraving give it such a somber feel. What stands out to you in its composition? Curator: The division of the print into two distinct scenes invites immediate comparison. Above, the relatively ordered interior space contrasts sharply with the crowded, almost chaotic scene below. Notice how Tanjé uses line weight to define form; the heavier lines articulate the figures in the upper scene, giving them a sense of monumentality, while the lighter, finer lines in the lower scene create a sense of movement and activity. The structural relationships—the distribution of light and shadow, the arrangement of figures—these all work to create a visual hierarchy. Do you see how the artist uses this visual language? Editor: Yes, the upper scene feels very contained, almost posed, while the bottom feels… like something is actually happening. Curator: Precisely. Tanjé employs a system of visual encoding. For example, consider the architectural elements in both scenes—the orderly arches above, and the more organic, undefined space below. These aren't just backdrops. They contribute to our understanding of the narrative. And the use of line, in particular, communicates that one space is rational, and the other, emotional. Editor: So, it's the visual structure that dictates how we interpret the scenes, even without knowing the story explicitly. Curator: Absolutely. The narrative unfolds not just through the figures depicted but through the formal relationships established by the artist. It invites us to dissect visual form beyond mere recognition and invites one to use semiotics to extract encoded meaning. Editor: That’s a helpful insight into analyzing prints from this era. I'll definitely look at engravings with a new perspective moving forward.