Venus en Amor op de wolken 1599 - 1603

Editor: This is Jacob Matham's "Venus en Amor op de wolken," from between 1599 and 1603, a print housed in the Rijksmuseum. I am struck by the almost hyper-defined linework which gives a dramatic flair despite the absence of strong tonal contrast. How do you interpret the piece focusing on the relationship between form and meaning? Curator: Note how Matham utilizes the engraving technique, prioritizing line to delineate form. Observe the distinct lack of chiaroscuro; rather, value is achieved through density and direction of the lines. The subjects, Venus and Cupid, are constructed through complex systems of cross-hatching and parallel lines, emphasizing a concern for descriptive accuracy over emotional depth. Editor: So the formal constraints almost dictate a certain kind of emotional reading? The texture makes up for contrast in dark and light. Curator: Precisely. In the rendering of the cloudscape, for example, the formal strategy effectively evokes a sense of ethereal weightlessness through delicate linework. Consider how that effect would be changed if Matham relied instead on tonal modeling, through a medium such as charcoal. Also, note the oval form around the whole artwork; it provides structure but what does that form create when the space is largely filled with the figures and clouds? Editor: It does look less 'natural', so to speak. It puts even more emphasis on artifice and display. The artificial, curving line constrains the boundless heaven! I am starting to appreciate the degree to which his stylistic choices determine how we understand this baroque allegory. Curator: Agreed. Reflecting upon the artist’s deliberate orchestration of visual elements brings heightened clarity of his methods.