Het gevoel 1670 - 1704

Editor: Here we have Cornelis Dusart's "Het Gevoel," made sometime between 1670 and 1704. It’s an engraving. There's something a little unsettling about the man’s gaze and posture; they seem… predatory. How do you interpret this work? Curator: Indeed. From a formalist perspective, the tension resides significantly within the composition itself. Notice how the strong diagonal formed by the ladder and the implied line of the man's gaze clash against the more static horizontal plane of the table. What effect do you think that creates? Editor: I suppose that creates a sense of instability, of unease, mirroring perhaps the woman’s distress. Curator: Precisely. And consider the contrasting textures – the smoothness of her skin juxtaposed against the rough hatchings used to depict his clothing, even the owl's feathers. These contrasting elements visually reinforce the imbalance of power, yes? Moreover, one must observe the use of light and shadow to direct the eye and emphasize key narrative components. Note the contrast of darkness behind the figures against the highlight on her face, or the fact that much of the male figure remains shrouded. What is the effect? Editor: It’s cleverly manipulative, keeping some visual aspects subdued and obscured in order to make others stand out. Curator: Correct. Dusart meticulously employs graphic structures to amplify the narrative undertones, utilizing light and shadow, figure positioning, textural counterpoints and calculated tonal values. Editor: It’s fascinating to consider the work stripped down to those raw, fundamental elements. Thank you. Curator: It is imperative we focus on materiality as well. Remember, form is not merely appearance; it is meaning realized through material existence.