Sint-Anastasiabasiliek te Rome 1669 - 1670

Editor: Here we have Giovanni Battista Falda's "Sint-Anastasiabasiliek te Rome" made around 1669-1670. It's an engraving, so a print, from the Rijksmuseum collection. The detail is impressive, though it's very linear and makes the church feel almost like an architectural blueprint. How do you interpret this work through a formalist lens? Curator: It’s fascinating how the rigorous application of line dictates the composition. Observe the architectural elements; Falda's meticulous hatching and cross-hatching articulate the basilica's facade, defining its planes and volumes. Consider the interplay between light and shadow – how is it conveyed through purely linear means, devoid of tonal variation? Editor: I see that. The stark contrast from the white paper creates the illusion of light, despite the lack of shading. It feels very controlled, almost clinical. Curator: Precisely. The essence of the Baroque, often associated with drama and dynamism, is here distilled into an ordered system of lines. Notice also how the perspective is rendered; does it prioritize faithful representation, or does it serve a more abstract, compositional purpose? Editor: It seems less about replicating reality and more about organizing the elements within the frame, creating a structured viewing experience. Is that part of the formalist idea—that the structure matters more than the subject? Curator: In essence, yes. While the subject - the basilica - holds significance, the formalist approach emphasizes the "how" over the "what." It prompts us to consider the aesthetic decisions inherent in Falda’s artistic method. Editor: That's given me a whole new appreciation for engravings! I was so caught up in what it depicted. I am so eager to learn about this more. Curator: Indeed. By shifting our focus to the internal language of the work, we can engage with it more directly, bypassing the need for external narratives or historical interpretations.