Parterre met broderiemotieven 1670 - 1680

Editor: Here we have André Le Nôtre’s “Parterre met broderiemotieven,” created sometime between 1670 and 1680. It's an ink and pen drawing, quite linear and precise. What strikes me most is the overt symmetry; what do you see in it? Curator: Its symmetry is indeed primary, but I am drawn to the structure underpinning that symmetry. Notice the repeating geometric motifs which constitute a visual language of Baroque order, a controlled vocabulary. It creates a landscape confined. How does that tension strike you? Editor: I hadn't considered the sense of confinement, but the regimented geometric patterns do seem to trap the organic forms, which otherwise are quite wild and florid. Almost a sense of repression through imposed structure? Curator: Precisely. We can consider the Baroque period’s emphasis on both ornamentation and rigid design principles, a dialectic explored here. Consider the very material presence of line in this engraving: how would you read its significance? Editor: It’s a functional drawing so I suppose the emphasis on line helps to distinguish different geometric elements, helping the landscaper interpret the design and implement it with precision? Curator: Yes, but is it only functional? Think of line not just as a boundary but as a declaration of form. The fine ink lines, replicated through the printing process, solidify ephemeral organic matter and turn the soft lines of garden edging into near permanent shapes. Editor: That makes sense; in drawing attention to the lines you suggest we re-examine not only function but meaning. I think that shift in perspective has helped me see it in an entirely new way. Curator: Indeed. Reflecting on structure illuminates the conceptual intention that guided its execution.