Schip met Argonauten en Tetide c. 1635

Curator: This print, titled "Ship with Argonauts and Tethys", dates to about 1635 and we attribute it to an anonymous artist. It's an engraving, and it’s currently held here at the Rijksmuseum. Editor: It has a strange sense of regal power, even for such a small engraving. The composition, all lines and precise detail, almost feels overwhelming with all these figures. I see gods and soldiers together on this vessel. What do you make of it? Curator: Given that the print portrays a boat laden with classical figures, it seems a likely subject would be to interrogate how concepts of leadership, class, and divinity intertwine and justify sociopolitical hierarchies during that era. Who had access to these stories and visual representations? How did this artwork justify those power structures to different audiences? Editor: Well, considering its context within the rise of Baroque style, it makes sense. I think of absolutist rule during that time and all the aristocratic associations that come with the idea. I see classicism used here as a means of claiming authority, right? A way of legitimizing through inherited traditions. Curator: Absolutely. Tethys herself— a Titan goddess of the primal font of fresh water— is right there on the stern! The engraver seems intent on reminding the viewer that these "leaders" have divine mandate, a particularly effective mode of social persuasion. I'm very curious what message its circulation and reception generated. Editor: Also look at how crowded that boat is! Each rower rendered in detail, emphasizing this laboring class. Do you think there is perhaps something within that representation that gives insight into the political structures in place that upheld all of this class-based society? I wonder how contemporary eyes saw that dynamic playing out. Curator: Those are excellent questions, and precisely what the artwork makes me consider! These visual documents allow for critical engagement with the past and prompt discussion around issues that still persist. Editor: Yes, how artistic patronage and even the materials of the artwork relate to wider power relations. I'm thankful it offers these opportunities to reflect on societal complexities.