Ruiters bij de poort van het Kasteel van Vincennes 1660 - 1703

Editor: This is "Ruiters bij de poort van het Kasteel van Vincennes" by Adam Perelle, dating somewhere between 1660 and 1703. It’s a pen drawing, or rather, an engraving of a pen drawing. There’s this really formal architectural structure and then these people, some on horses, in the foreground. It feels…staged, almost theatrical. What do you see in this piece? Curator: It is staged, and I'm interested in the context of that staging. Consider the absolute monarchy of Louis XIV. Architecture and art became tools of power, projecting an image of control, order, and grandeur. What kind of statement do you think Perelle is trying to make about power and its relationship with public space? Editor: I guess the architecture reinforces the King’s power, but it’s also showing this space being actively used by the public… maybe that creates some form of… access? Is that a proper interpretation, or am I missing something important? Curator: That’s a really incisive observation! But does everyone have the same access? Notice the riders on horseback versus the figures on foot. This distinction mirrors the hierarchical society of the time, revealing inequalities based on class and privilege. It’s crucial to think about art like this not as neutral, but always reflective of particular interests. The space isn't a truly *public* space. Editor: So the staging isn’t just for show; it’s reflecting social hierarchies! I hadn’t considered how those interactions were just as important as the backdrop. Curator: Exactly! Perelle's engraving then serves not just as a depiction, but as a social commentary on the period. We learn how to "read" a piece to understand these intersections of power. Editor: This has definitely made me look at the drawing—and think about public art in general—in a completely different way. Curator: I am thrilled to hear that! That's what I think approaching art critically can and should do!