Allegorie op Afrika 1763

Editor: So, this is Jan Caspar Philips' "Allegory on Africa" from 1763, a print from the Rijksmuseum collection. The detail is incredible for an engraving. It features a seated allegorical figure of Africa, surrounded by people and resources. What I immediately notice are the elephant tusks and produce at her feet... How do you interpret this work? Curator: I see it as a powerful commentary on the material relationship between Europe and Africa at the time. The print itself is a commodity, made possible by colonial trade networks. Look at the tusks, the source of ivory fueling European artistry and consumption, literally supporting the allegorical figure. How was that ivory acquired? Who labored to extract it? Editor: I hadn’t considered the engraving itself as a product of colonialism, that's a good point. The labor involved isn’t really visible; it's like the print hides its own means of production. Curator: Exactly. And note the detail of the people surrounding the allegorical figure. Consider their positioning in relation to the Western ships visible in the distance. Are they being included, or consumed by, the composition and by extension, colonial desire? The print naturalizes the extraction of raw materials and obscures the human cost, doesn't it? Editor: It’s uncomfortable to realize how this seemingly innocent depiction normalizes a very exploitative system. Curator: Indeed. Think about the role of images like these in shaping European perceptions. These prints were consumed, disseminated, and helped create and maintain power structures, influencing how people thought about Africa and its resources. The materiality of the image is inextricably linked to the material reality of colonialism. Editor: It’s amazing to consider the social impact of a simple engraving. I see so much more now than just an allegorical scene! Curator: Precisely. The image reveals the complicated relationship between art, materials, and power, which I think makes the viewing experience all the richer.