Reuk 1663 - 1693

Editor: Here we have Cornelis Boel’s "Reuk," an engraving created sometime between 1663 and 1693, currently held at the Rijksmuseum. The meticulous detail, typical of engravings, strikes me first. The texture in the clothing and the soft rendering of the figures create an intimate, yet somewhat formal, scene. What compositional elements stand out to you? Curator: From a purely formalist perspective, the balanced composition is significant. Note the mirroring effect created by the figures' postures. The man leaning in to smell the fruit, counterpoised by the woman, who seems to inhale from the flowers she holds. The linear quality is dominant. The eye is led by the stark delineation of form, through a calculated push and pull of the etched lines. Editor: Do you think the contrasting patterns of the subjects’ garments draw the viewer’s eye in any particular direction? Curator: Indeed. The dynamic patterns on the man's sleeve create a visual energy which is calmed and complemented by the subdued tonal contrasts on the female subject's apparel. Look at the negative space. The way the composition holds, pushes, and contains areas of high and low value to control visual impact, note the subtle yet definitive positioning that holds your gaze and creates areas of respite, so it may continue again. The interplay serves a dual purpose. The scene engages due to its textural intricacies, but there are areas that are meant to cause your gaze to be halted so it is free to move to the next intended section of the artwork. The dynamic tension builds, peaks and resets itself due to a high standard of thoughtful design. Editor: Fascinating! I hadn't considered the deliberate arrangement of textures as contributing to a controlled viewing experience. I’ll certainly be looking at compositions with fresh eyes now. Curator: Precisely. Form informs function, a lesson evident even in seemingly simple genre scenes such as this.