Portret van Katherine Howard 1630 - 1677

Editor: We're looking at "Portret van Katherine Howard," an engraving dating from 1630 to 1677, made by Adriaen Lommelin, and housed here at the Rijksmuseum. It has an old engraving style. There's something quite serene, almost melancholic, in the woman's expression, emphasized by the precise detail of the lines. What catches your eye, looking at this piece? Curator: I am drawn to the relationship between form and content as revealed by the stylistic choices. Observe the meticulous detail in the subject's costume contrasted with the more loosely defined background. This interplay creates a visual hierarchy that directs the viewer's attention to the figure of Katherine Howard. Can you appreciate how the engraving technique itself contributes to a sense of refined elegance, almost acting as a filter that elevates the subject beyond simple representation? Editor: I see what you mean. The focus is definitely on her. The lighting seems to be all about highlighting the details in her face and clothes. How would you say that this enhances the portrait’s overall effect? Curator: The artist employs the graphic potential of the engraving to simulate the textural richness of her garments through an interplay of dark and light. This focus redirects the viewers gaze towards the sitter's gaze and countenance; observe that while Howard is ornamented with extravagant jewelry, her facial features denote humility and invite the viewers inward. Notice the tree at the rear left as counterpoint to the hanging drape to the rear right and how these contextualize our understanding of light as being diffused and not direct. Editor: That's interesting! I hadn't thought about how the specific choices made in the engraving process add so much. I was more focused on just the person, but seeing how form elevates it has opened my eyes. Curator: Indeed, art transcends its subject matter, it is in its composition where the magic emerges.