Ontzet van Turijn, 1706 1712 - 1715

Curator: Ah, here we have "Ontzet van Turijn, 1706", a print by Johann August Corvinus, created between 1712 and 1715. It's an engraving, currently housed here at the Rijksmuseum. Editor: Whoa, that's a lotta ships. Like, an armada went baroque. The sheer number is overwhelming, but something about the composition—that horizon line so high up—makes it feel strangely flat. Curator: Indeed, the print depicts a historical moment—the Relief of Turin during the War of the Spanish Succession. It served not just as a record but as a piece of political propaganda. Editor: Propaganda, huh? Well, I'd buy it. I mean, the level of detail in each vessel, and those ornate borders packed with allegorical figures... It's shouting, "Look how glorious this was!" right? Still, there’s an eerie stillness to it. Curator: That's a fascinating reading. Consider how prints circulated, reproduced, and reinforced dominant narratives. Prints such as this contributed to shaping public memory of events like these, emphasizing dynastic power and military might. Editor: Like the Photoshop of the 18th century. Seriously, those chubby cherubs crammed into the corners contrast so wildly with the battlefield, it almost reads as satire to modern eyes. Maybe the artist was winking? Curator: (chuckles) Perhaps a little cynical interpretation for something meant to be taken seriously. Editor: Ok, valid. Either way, knowing that this was meant to bolster someone's political agenda gives a whole new meaning to the term "artillery of images". Curator: Absolutely. These weren't simply decorative; they were active participants in the formation of national identity. Editor: Well, I am gonna ponder all those power dynamics on my way out! What about you, learned any new viewpoints? Curator: Well, looking at this through your eye has reinforced the ability of art to inspire multiple perspectives depending on the cultural contexts of their consumers, regardless of an artwork's intent.