Oordeel van Paris 1763 - 1765

Editor: Here we have Jean Daullé's engraving, "Oordeel van Paris," created between 1763 and 1765. The detail achieved through the engraving is remarkable. The textures created in the landscape and drapery create a very dreamlike effect. How would you interpret this work, focusing on the composition? Curator: Let us begin with line. Notice the dominance of the curved line, employed to create both form and the illusion of movement. Consider how this principle informs the rendering of musculature, drapery, and even foliage. How would you characterize the use of space in relation to the figures? Editor: The figures dominate the space, especially with how centrally located the three Goddesses are. The landscape in the background is well-defined, but flatter. It seems to act more like a backdrop than a fully realized space. Curator: Precisely. Note also the strategic placement of light and shadow, enhancing the contours of the figures and guiding the viewer's gaze. How might the varying depths of field affect your interpretation? Editor: The background's depth is de-emphasized, so the intense gaze feels appropriate because the focus rests on the figures in the center of the image, heightening their drama and tension. Do you think the baroque style makes an effective interpretation for an ancient scene such as this? Curator: The choice of style reflects the artistic conventions and aesthetic preferences of Daullé's time. The subject serves primarily as a vehicle for exploring idealized human form and ornate compositional arrangements characteristic of the Baroque. The question of “effectiveness” is secondary to the examination of how Baroque visual language constructs meaning within this engraving. Editor: I see your point. It's less about historical accuracy and more about using a known story as a way to explore the style of the time. I’m grateful to look at it that way.