Romeinen - keizer Augustus 1645

Editor: This engraving, titled "Romeinen - keizer Augustus" by Jeremias Falck, dated 1645, is striking! It's a portrait, but with some very unusual features, almost leaning towards caricature. How do you interpret this work from a formal perspective? Curator: Observe the artist's commitment to line. It is almost feverish, especially if you trace it along the drapery, armor, the hair of the figures, and even the clouds. Ask yourself about its purpose; what statement about power is being made? Editor: Well, the figure of Augustus is quite central, with all these allegorical elements arranged around him. He's also wearing this lion pelt, holding a rod, and there’s a figure fighting a multi-headed beast at his feet. I suppose he is intended to feel authoritative and almost other-worldly. The contrast between light and shadow is also pretty pronounced. It lends a sort of theatrical feel, I suppose. Curator: Exactly. Now, shift your gaze to the formal relationship between the figures and their grounds. Notice the deliberate placement and execution, for example, of Augustus, centrally placed but turned slightly away, juxtaposed with the writhing Hydra on the lower left and the trumpeting putti above. What kind of relationship is being established through placement, tone, and line? Editor: I see that the composition is meant to establish hierarchy and possibly chaos under control, through both visual organization and contrasts. I hadn't considered the formal aspects in such detail. Thanks for pointing that out. Curator: The goal is for all observers to realize that art making relies on these organizational and theoretical methods as much as other endeavors rely on scientific method and inquiry. By seeing what we see and naming the choices an artist makes, the cultural significance becomes increasingly illuminated.