Hellig mand med horn i hånden, omgivet af tre personer 1623 - 1678

Curator: This is a drawing by Jürgen Ovens, dating from between 1623 and 1678. It's titled "Hellig mand med horn i hånden, omgivet af tre personer" which translates to “Holy man with horn in hand, surrounded by three people.” Editor: My initial thought is one of striking simplicity in the mark-making. You can really sense the immediacy of the artist's hand; the cross-hatching feels raw. Curator: Yes, that raw quality aligns with Ovens’ position during the Baroque period. We can appreciate the dynamism and dramatic flair typical of the style, here manifest in the energetic line work, right? This wouldn't be something destined for grand exhibition but possibly preliminary sketches that are telling about workshop practice in the time. Editor: Exactly. And let’s consider the materiality: the very deliberate choices of pen and ink—what would those resources have signified? Where did he procure his materials, and from what labor source? I wonder what kind of labor division might be associated with that specific material selection. Curator: Those are insightful questions regarding artistic resources! More generally, in art history, this work evokes theological debates prominent during that period. We see the central figure, likely a prophet, and what seems like a shofar. Considering Ovens’ patronage, religious narratives were very marketable for artists like him during his time, as public devotion shifted. Editor: Certainly. But notice how that horn dominates the composition? It is also material, shaped through technique. That form is really arresting. How did he learn to craft his horn? Whose tools and training enabled his mastery? Curator: A lot to consider in this simple work. Editor: Agreed. Examining not only his composition but also what constructs the tools—I feel we’ve found entry to really understand that period better.