Personen op een balustrade met festoenen by Cornelis Holsteyn

Personen op een balustrade met festoenen 1633 - 1638

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drawing, pencil

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drawing

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baroque

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figuration

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pencil

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genre-painting

Dimensions: height 208 mm, width 656 mm

Copyright: Rijks Museum: Open Domain

Editor: So this drawing, "People on a Balustrade with Festoons," made with pencil between 1633 and 1638 by Cornelis Holsteyn. There's something playful about it, like we're catching a glimpse of a lively scene, perhaps from a theater. What stands out to you most in this piece? Curator: Playful, yes! That’s a wonderful way to put it. For me, it’s the energy. Holsteyn manages to convey a real sense of immediacy, as if we've just stumbled upon this animated group. Do you notice how the figures lean forward, their faces full of anticipation or surprise? It’s theatrical, for sure – maybe even hinting at commedia dell'arte with that mischievous, almost cartoonish energy in some of the faces. What do you make of the contrast between the realistic details and the almost exaggerated expressions? Editor: That's interesting! I hadn't considered commedia dell'arte. The exaggerated expressions make sense in that context. It's like he's pushing the boundaries of what a portrait or genre scene usually conveys. Curator: Exactly! And consider the festoons – those decorative garlands. They add to the festive, somewhat chaotic atmosphere. I like to think of this work as capturing a moment of unscripted joy. The perspective is so intriguing too... where do you think we, the viewers, are standing in relation to this balustrade? Are we below them, part of the 'audience' to their spectacle? Editor: Good point! I guess we're positioned as onlookers, drawn into their world. It gives us a unique vantage point. Thanks to the visual construction, we can see them as we're watching them at the theatre as audience. Curator: Yes, perhaps Holsteyn has allowed us backstage, in a strange way. Now I'm considering whether it is us that has joined their world, or is it them that is inviting us into a mirror! Editor: This has completely shifted my understanding of the drawing. Now I'm eager to research more about theatrical influences on Baroque art. Curator: Likewise! This was such a pleasure for me to explore a new and creative vantage point, where new connections and creative insights are revealed.

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