Bag 1687 - 1722

Curator: Gazing upon "Bag" by Franz Roos, created sometime between 1687 and 1722, I’m struck by its rather stark, almost charcoal-like presentation despite it being an oil painting. It has this strangely haunting monochromatic mood. Editor: I find the starkness incredibly affecting, really. You almost smell the damp earth and… well, the, uh, stillness of the subject matter. There’s a hare, seemingly regarding some fallen birds. The somber tones definitely dial up the drama, don't you think? Curator: Absolutely. The realism of the era really comes through, even without a full range of color. Roos isn’t glorifying the hunt; he's presenting it with unflinching honesty, albeit in monochrome. He's exploring the power dynamics inherent in still life tradition but does that with very little aesthetic dressing. The painting doesn't revel in abundance or ostentatious display, reflecting perhaps shifts in social values during this time. Editor: Shifts indeed! It feels strangely subdued, even contemplative. Is the hare contemplating its… dinner options? It feels almost anthropomorphic. It’s unusual for Baroque art to have this kind of understated approach. There's always so much richness, textures and overtness that you rarely can stop and think about implications like these. Curator: You touch on something key: we often expect Baroque art to be opulent. Roos is challenging expectations here, perhaps intentionally. The monochrome palette, which admittedly might be due to age, emphasizes the raw elements. It invites the viewer to see beyond mere beauty, urging a consideration of mortality and natural cycles. He does so at a museum as renowned as the SMK as well, the cultural significance here cannot be understated. Editor: A very powerful statement with seemingly very simple subject matter! The absence of vivid colors brings forth something else. A mood almost. The details come forward as a result. And while it’s easy to write still lives off as displays of ownership, something here seems different. Perhaps something Roos has been thinking deeply about in his own practice? Curator: Perhaps so. Its restraint speaks volumes, suggesting deeper narratives around consumption and fate. Editor: I will never see the same thing in "mere" depictions of a bag after this discussion! Curator: Nor will I! A true testament to art’s endless power.