Tuinornament met obelisk 1695 - 1733

Editor: Here we have "Tuinornament met obelisk," or "Garden Ornament with Obelisk," an engraving by Jacobus Schijnvoet, dating from between 1695 and 1733. It gives me a somewhat austere feeling, even though it depicts a garden scene. How do you interpret this work? Curator: I see this engraving as a powerful assertion of control over nature and, by extension, over society itself. The obelisk, a symbol of ancient Egyptian power appropriated by European elites, stands rigidly in the meticulously planned garden. What does it say about the people commissioning such works at this time? Editor: So, it’s not just a pretty garden feature, but a statement of dominance? Curator: Precisely. Consider the social hierarchy of the Baroque era. Land ownership and the ability to manipulate the environment into these formal gardens were potent signs of wealth and status. The obelisk acts as a focal point, reinforcing the owner's position at the top of this pyramid. Who do you imagine populated these spaces and what power dynamics were at play? Editor: It makes you wonder about who *wasn’t* allowed in those gardens and how much labor went into building them, doesn't it? The symmetry and the order of it all feel less like beauty and more like...oppression, almost. Curator: Exactly! And it's important for us to see how aesthetics can be so intimately tied to power. Reflecting on such historical contexts allows us to have deeper critical engagement with similar structures of power that may exist today. Editor: This has really shifted my perspective on this piece. I'll never look at a Baroque garden the same way again. Curator: I hope that as new generations engage with such historical artwork, this new understanding reshapes their view and creates awareness of the historical oppressions which affected our modern societies.