Vertumnus en Pomona 1700 - 1750

Curator: Oh, hello. Up next we have a striking engraving simply known as "Vertumnus en Pomona." It's part of the Rijksmuseum's collection and dates back to somewhere between 1700 and 1750, though the engraver, frustratingly, remains anonymous. Editor: Anonymous, huh? That makes it even more mysterious. My first impression is all about the contrast; the stark, lined rendering against this tender, mythological narrative. Curator: Indeed. Its engagement with the Baroque is quite obvious; its aesthetic values invite discussions around drama, tension, and dynamism—though through the particular lens of engraving techniques of the era. Take, for example, how lines delineate form. Semiotically speaking, each careful marking serves to either add dimension or detract… Editor: Whoa, okay, back up a sec. Baroque is all well and good, but those heavy, dark lines! They give such weight to everything. And with those contrasting shades...it feels a little severe, especially contrasted against this intimate, almost coy encounter between an old woman and the very serene, nude figure sitting before her. Curator: You zero in on the emotional nuance immediately! Consider the allegory, too: Vertumnus, in disguise, attempting to woo Pomona—a narrative deeply embedded in notions of metamorphosis and persuasion. One notes how line modulation creates depth and conveys textural information within that landscape. Editor: Ah, the garden backdrop… that’s right. So you’re telling me our gruff visitor, all swathed in folds and sharp angles, is actually trying to seduce this poised beauty? He almost looks…stern. Like he's wagging a judgmental finger! Curator: Judgement becomes seduction when form takes on significance beyond simple mimetic representation. Note how her passivity is less an inert pose and more an openness, signified by how shadow and light fall upon her… it invites an encounter on many levels. Editor: I’m seeing something completely new! It’s this play between roughness and smooth that makes it captivating—and you are totally right about the shades doing that openness work...It almost invites us to be a part of this exchange, too. Curator: It has been quite illuminating seeing "Vertumnus en Pomona" afresh today, and feeling it as though for the first time. Editor: I know! So many layers to unpack here...art from a ghost—an unnamed, Baroque bard whispering stories across centuries in pure visual drama.