Slag bij Duinkerken, penning door de Staten van Holland aan Maarten Harpertsz. Tromp geschonken 1639

Editor: Here we have a medal from 1639 commemorating the Battle of Dunkirk. It was commissioned by the States of Holland for Maarten Harpertsz. Tromp, and is made of metal, employing relief and engraving techniques. Its monochrome aesthetic immediately struck me; how does the use of a single material and its manipulation shape our understanding of the event it depicts? Curator: It’s precisely the formal relationships at play that construct the medal's impact. Note how the anonymous artist utilized the limited tonal range to create distinct areas of focus. The lion rampant on the obverse, for example, benefits from a higher relief than the surrounding inscription, drawing the viewer’s eye. Editor: I see what you mean. The contrast definitely directs my attention to the lion. What about the text on the reverse? It almost feels like a solid block. Curator: Indeed, and that contrast with the figural representation is critical. The inscription is tightly packed and in a shallower relief. What effect does that difference in texture achieve? Editor: It almost feels like the text is meant to be understood, not necessarily seen, as if the words serve to quietly and subtly provide factual details. The lion, however, embodies visual rhetoric through allegorical devices and its dynamism, even militancy. Curator: Precisely! By observing the nuanced employment of line, texture, and compositional arrangement, can we start to interpret its layers of meaning? The coin, rather than being seen for solely its historic worth, is an exercise in expertly juxtaposing symbolism with direct meaning. Editor: I’m beginning to notice new depths in this piece, and it highlights the importance of noticing the interplay of visual aspects that construct the narrative. Thank you. Curator: A vital element to any artistic interpretation. A delight.