Christus aan het kruis c. 1648 - 1651

Editor: Here we have "Christus aan het kruis," or Christ on the Cross, an engraving made around 1648-1651. It's attributed to Gilles Rousselet and held at the Rijksmuseum. I'm immediately struck by the dramatic use of light and shadow, really emphasizing the anguish. How do you interpret the overall emotional impact of this piece? Curator: Oh, this one sings to me of devotion and baroque drama. That contrast – *chiaroscuro*, we call it – isn't just visual; it's emotional. It's the agony against the faintest glimmer of hope, see? The angels, almost cherubic amidst the despair, swirling around, adding movement. Think about what Rousselet is doing – not just showing a scene, but inviting you, demanding you *feel* it. Do you see how Christ's body seems both vulnerable and idealized? Editor: Yes, it’s almost a theatrical pose, the way his arms are stretched. Curator: Exactly! It's performance. Consider the period, the fervor of religious expression. Engravings like these circulated widely, bringing grand altarpieces into private devotion. The text at the bottom, "O all ye that pass by", it implores, doesn't it? It seeks a personal connection to the suffering depicted. It's more than art, it’s a visceral invitation into faith. Editor: It’s amazing how much emotion can be conveyed in what seems like a simple black and white print. Curator: Indeed. And look closely at how the city is far away and how that emphasizes the scene on the cross. This piece isn’t just about observation, but about profound, and perhaps beautifully painful, contemplation. Thanks for walking with me!