Patrijshond en patrijs in Nymphenburg 1744

Editor: We’re looking at “Partridge Dog and Partridge in Nymphenburg” by Johann Elias Ridinger, from 1744. It’s a print, currently held at the Rijksmuseum. There's a very poised Dalmatian amidst this elaborate garden setting. The textures are incredibly detailed. What do you see in this piece? Curator: I’m drawn to the formal arrangement. Consider how the eye is directed from the precise, almost geometric foliage on the left, mirroring the more chaotic thicket on the right, funneling towards that single dog, carefully balanced with a waterfall background that gives way to what feels like flat engraving and, dare I say, a visual flatness that pulls at the dimensions of a dog, captured for the hunt in a posed rendering. Editor: So you see it more in the lines and shapes, than what's being represented? Curator: Precisely. It's about how the elements – the line, the light, the shadow – all interact to create a dynamic and compelling image. Editor: I can see that now! It almost doesn’t matter that it’s a hunting dog, and more so that we’re viewing visual problem solving. Curator: Exactly. We might even discuss if its true hunting in itself when so clearly its posing—to engage the print to engage us. Editor: Fascinating! I initially thought about its hunting scene, but focusing on composition opened it up. Curator: A different lens certainly reframes our interpretation and engages discourse with the print’s own dialogue on what hunting art can be.