Landschap met opkomende zon 1672

Editor: Here we have Albert Flamen’s "Landschap met opkomende zon," or "Landscape with Rising Sun," an etching and engraving from 1672. It feels rather melancholic, despite the promise of the sunrise. What story do you see unfolding here? Curator: What strikes me is the visual tension between the Latin inscription “Spes inde serena” – “Hope comes from serenity” – and the etching's overall effect. We must question for whom this promise of serenity is extended. Is it a universal offering, or is it mediated by power structures? Who has access to serenity and under what conditions? Editor: That's an interesting perspective. I was initially drawn to the sort of gloomy, dreamlike quality, and didn't consider that aspect. Curator: The inclusion of text within the image itself functions to guide its reading, suggesting a clear path from darkness to light. Consider, however, that access to literacy and, more crucially, to land itself, were far from universal in the 17th century. Might this “hope” be tinged with irony for those dispossessed or marginalized? Editor: So, you are suggesting that what seems like a straightforward image of hope could actually be a commentary on social inequalities? Curator: Precisely. Flamen, while known for landscapes, was also working within a society grappling with issues of land ownership, class, and nascent capitalism. Examining the intended audience, and their lived realities, prompts us to look critically at idealized representations of nature. The sun’s rays may not shine equally on all. Editor: That’s given me a lot to think about. I’ll definitely view landscapes differently from now on! Curator: That’s the power of engaging with art, questioning the surface and uncovering the narratives beneath.