Atlas, drager van het hemelgewelf by Hendrick van Beaumont

Atlas, drager van het hemelgewelf 1696

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drawing, paper, watercolor

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drawing

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allegory

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baroque

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charcoal drawing

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figuration

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paper

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oil painting

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watercolor

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watercolour illustration

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nude

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watercolor

Copyright: Rijks Museum: Open Domain

Editor: This is Hendrick van Beaumont’s “Atlas, drager van het hemelgewelf,” made around 1696, using watercolor and other drawing media on paper. The figure is striking - the rendering of Atlas is so physical and immediate. How might we unpack this in terms of artistic production and the materials at hand? Curator: I’m immediately drawn to the materiality of this piece. Consider the labor involved in creating such a detailed drawing with watercolor in the late 17th century. It's not just about representing Atlas; it’s about the process of making the art object itself. Think about where Beaumont sourced his materials, how he mixed the pigments. Did this process affect the accessibility of this imagery, of this allegory? Editor: That's a fascinating point! The physicality of Atlas is conveyed so directly with the watercolor... I hadn't thought about the cultural implications tied to the material itself. It's not marble, not bronze, which might befit a grand allegory, but watercolor on paper, somehow democratizing it? Curator: Exactly! Watercolors were becoming increasingly popular, and the paper itself was being produced in new ways. It affects how we understand the heroic figure. Is he truly superhuman if represented through such comparatively modest and, yes, democratized materials? How does the choice of these specific media challenge our ideas of the Baroque period itself? Editor: I see what you mean. It shifts the focus from the grandeur of the subject to the immediate, almost tangible process of its creation, adding layers of meaning beyond just the mythological representation. Considering those nuances related to material processes adds so much more to understanding the image. Curator: And consider, what does this shift in material priorities imply about the social functions art was starting to serve? What can be gained by prioritizing portability and broader availability versus the ostentatious display previously embraced? Editor: Definitely given me food for thought! Thank you.

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