Dubbele hanger 1550 - 1587

Curator: Here we have "Dubbele Hanger," or "Double Pendant," an intaglio print, likely executed with pen and engraving, dating to between 1550 and 1587. The artist, Abraham de Bruyn, really showcases the Baroque era's decorative flair. Editor: It has a formal feeling, though; very structured. The ornate scrolling almost fights against the rigid symmetry. Is that intentional, do you think, that tension? Curator: Absolutely, I think the tension you sense is exactly where meaning arises. We are meant to reflect on the contrast between a strict exterior, with the internal space being without an adornment. The form speaks of both constraint and burgeoning possibilities. Editor: So, an invitation to personalize and self-define... Given the historical context, how subversive could such an assertion of selfhood have been, particularly if considered as a adornment, a statement on one's person. Curator: Consider that pendants and jewelry of this period were often coded indicators of social status, allegiance, and religious belief. Even though "Dubbele Hanger" is an ornament design, as a print, it becomes accessible beyond the elite. Think about the democratization of symbolic representation! The implications for challenging hierarchies are there. Editor: Which moves it, doesn’t it, from just decorative art into a powerful form of commentary on personhood. This piece serves as a record of changing notions of identity that still echo today. Curator: Precisely. These swirls and geometric forms aren’t just pretty. They remind us how the wearer is both confined and empowered by cultural norms and how one can also make one's unique statement by selecting such ornament. The frame is suggestive of both. Editor: I came in seeing formality but, I appreciate you helping me understand how it functions as an exploration of identity within societal frameworks and could be viewed in today's world. Curator: My pleasure! These images really do keep on speaking if you care to listen.