Ontwerp voor een zaalstuk: standbeeld van zintuig Smaak, daarnaast een vrouw en papegaai met vruchten 1715 - 1798

Editor: So, this watercolour and ink drawing on paper is entitled "Design for a Room Decoration: Statue of the Sense of Taste, Beside a Woman and Parrot with Fruit" and it's attributed to Dionys van Nijmegen, dating sometime between 1715 and 1798. The colours are so muted, and the composition so formal; I can't help but feel a bit removed from the piece. How do you interpret this work? Curator: Ah, a design, you say? Think of it like this, my friend. Imagine stepping back in time, into a grand salon. Sunlight streams through tall windows, illuminating this very scene, brought to life on a painted wall. Wouldn't that change how you feel about it? Van Nijmegen wasn’t just creating art; he was designing an experience. The allegory of taste becomes an invitation— to savour not just food, but life. And the woman, perhaps she's tempting us. Editor: That's an interesting point about it being a design piece. I hadn't considered it as something that would interact with its environment, rather than existing solely as art for art's sake. Does the parrot add anything to that experience? Curator: The parrot! A delightful touch, no? Imagine its squawks mingling with the laughter of guests. And don't you think the fruit represents temptation? It's a symbol of earthly pleasure. Perhaps Van Nijmegen means it as a wry commentary: a gentle reminder that even in refined settings, base desires flutter just beneath the surface. The overall mood becomes lively and dynamic instead of stiff, doesn’t it? What do you think now? Editor: I agree. Reframing it within its intended architectural space brings the drawing alive and completely alters my perception. Thanks for shedding light on that, it's been insightful! Curator: And for me, it's a joy to share a glimpse into the artist’s mind, and his world, no? A reminder that art is never truly silent.