Triomf van Venus 1724

Editor: This is Bernard Picart’s "Triomf van Venus," an engraving from 1724 at the Rijksmuseum. The goddess Venus is depicted riding over the sea, attended by figures from mythology. It has an incredible sense of movement. How would you interpret this work? Curator: This piece reflects the Baroque fascination with allegory and classical mythology, but more importantly the public function of art at the time. Consider that this wasn't made for private enjoyment; prints like these circulated widely, disseminating cultural values and aesthetic ideals. Editor: So, it's not just about the myth, but about spreading an idea? What ideas were circulating when this engraving was created? Curator: Exactly. Think about the Dutch Republic in the early 18th century. This imagery links them to a grand, classical past, legitimizing power and prosperity through association with established, admired cultures. The sensuality and celebration of beauty were not just artistic choices, but endorsements of worldly enjoyment and civic pride, accessible and understandable even by an unschooled public. What do you make of Venus’s pose? Editor: It's very assertive, like she's claiming dominion. The whole scene is idealized, almost a propaganda image. So the placement of the work matters because an idealized god makes their lives, by extension, divine? Curator: Precisely. The Baroque loved a grand spectacle, and this engraving provided that in an easily reproducible form. Now, what do you see as the legacy of such imagery today? How does it inform contemporary image making, given what we know about how power intersects with public life and cultural institutions? Editor: That's definitely given me a new way to look at these classical scenes. I always thought of them as beautiful but disconnected from our lives. Now I can see the politics embedded within. Curator: Indeed. It's crucial to recognize the historical power dynamics in play even in seemingly innocuous artworks. A good lesson!