Allegory of America, from New Inventions of Modern Times (Nova Reperta), plate 1 of 19 1595 - 1605

Editor: Here we have Theodoor Galle’s engraving, “Allegory of America,” made between 1595 and 1605. The contrast is striking – a European figure encountering a Native American woman within a lush, detailed landscape. What historical narratives do you see embedded in this image? Curator: This engraving belongs to a series called "Nova Reperta," celebrating modern inventions. But here, the "invention" is America itself, or rather, the European concept of it. Galle's image participated in constructing a visual language around the Americas, a language that very much served a colonial agenda. The figure of Amerigo Vespucci is prominently featured. The nude, passive indigenous woman signifies a land ripe for the taking. How does that make you feel, viewing this today? Editor: Uneasy, definitely. I hadn't really considered how much this idealized landscape might mask a violent history of colonization and resource extraction. I mean, she's in a hammock, casually lounging! Curator: Exactly. These details reinforce the idea of America as passive, awaiting European intervention. And it’s not just about the act of discovery, but also about claiming the territory. Look at the ships in the background and the specific animal species present - everything points to European control. Think of this image as propaganda disseminated through print culture, shaping public opinion about the ‘New World.’ How does that awareness change your perception of it as a work of art? Editor: It makes me think a lot more critically about what the image is *doing*, not just what it's showing. It's actively creating a justification for a specific historical and political narrative. It’s uncomfortable but fascinating. Curator: Precisely. Understanding the socio-political context is key to unpacking these loaded visual representations. Galle's work teaches us to question the apparent neutrality of historical imagery and examine the power structures at play. Editor: I’ll never look at a historical image the same way again!