Mars, from The Seven Planets 1533

Curator: This is "Mars, from The Seven Planets" by Heinrich Aldegrever, created in 1533. It’s an engraving on metal. Editor: It's… striking. The figure is so intensely detailed, the musculature feels exaggerated, almost performative. Curator: Aldegrever was a master of the Mannerist style, known for its dramatic compositions and elegant, elongated figures. In this print, Mars is presented not just as a warrior but as an allegorical representation of the planet. He’s very deliberately embodying the concept of warfare. Editor: The contrast between the war god and the ox is fascinating. The ox has always been a symbol for servitude and submission, perhaps this choice embodies a silent commentary on Mars’ domain. The quiet domestication in comparison to the warrior’s violent domain creates an incredible juxtaposition. Curator: Exactly. Each of the Seven Planets prints featured the respective god with animals associated with their planetary influence. Consider also the details in his armor and the horse's trappings, Aldegrever meticulously crafted those, invoking classical imagery. Editor: There's a boldness to the composition, though. The landscape fades. All emphasis goes into the power structure of this God in shining armor. Even the way his gaze cuts into ours. Do you find that imposing figure empowering, or is that violence off putting to you? Curator: The emotional register has really shifted across centuries, of course, with different interpretations accumulating. But there's still the visual weight of Mars himself, as a symbol. Whether inspiring dread or admiration, those interpretations still circulate. Editor: I'm drawn back to that contrast: the detailed warrior versus the tranquil ox. Perhaps the piece reflects a historical fascination with the destructive tendencies, not necessarily an admiration, but the acknowledgement of something unavoidable. Curator: A very thoughtful reflection, I think. Aldegrever’s Mars leaves us contemplating how symbols evolve and continue to shape the stories we tell. Editor: Right. Ultimately it challenges us to ask: What kind of visual story are we now choosing to perpetuate?