Aanbidding door de herders 1585

Curator: This engraving, titled "Aanbidding door de herders," or "Adoration of the Shepherds," dates back to 1585 and is attributed to Lambert Lombard. It resides here at the Rijksmuseum. Editor: It strikes me immediately as quite theatrical. The composition, almost like a stage tableau, and the dynamic poses of the figures give it a lot of tension, even if it’s on a very small scale, from what I understand, done on paper. Curator: The theatricality you mention points to the influence of Northern Renaissance sensibilities. Lombard was fascinated by classical art, but here, we see how that inspiration blends with the intricate detail characteristic of the North. The shepherds, for example, aren't just worshipping; they’re bursting into the scene, conveying this urgency that is almost frantic, right? Editor: Exactly, there's a palpable energy, emphasized, I think, by the density of lines. You can almost feel the physical labor of creating all those individual marks, really packed together, which helps model light and shadow. Look at how much darkness exists on the figures as compared to the illuminated child. It makes one think about printmaking workshops and the collaborative effort involved in producing these engravings, because it is rare to have such refined artwork coming from one single person in history, they have many, many pairs of hands to help achieve greatness. Curator: Yes, the contrast created by those dense lines draws our attention to the sacred scene unfolding amidst the relative chaos surrounding it. Notice, too, how Lombard employs symbols. The broken column could signify the transition from the Old Covenant to the New, embodied by the infant Jesus. Then, what would the oxen indicate? Editor: Perhaps a grounding, earthy presence? Their calm presence acts as a counterpoint to the shepherds. I also think this choice may come down to the simple materiality of animal bodies being used by so many artists to model anatomical detail and light-dark contrast. Curator: Possibly. And in many ways, those symbols underscore the transformation, of both a personal and a cosmic order. I had not looked at this imagery with this thought until you began talking. I guess the work is never finished, merely abandoned, as the old saying goes. Editor: Indeed! Examining the artwork through a material lens really opens up how intertwined labor, symbolism, and artistic intentions can be. Thank you for discussing it with me.