Laatste Oordeel 1722 - 1784

Editor: This is "Laatste Oordeel," or "Last Judgement," an engraving by Simon Fokke, made sometime between 1722 and 1784. The scene is incredibly dynamic, packed with figures ascending, descending, and reaching towards the heavens. The textures seem really interesting given it's a print. What strikes you when you look at this piece? Curator: The dynamic composition is precisely what captures my attention. Observe how Fokke orchestrates a visual hierarchy through light and shadow. The divine realm, bathed in radiating light at the upper register of the image, sharply contrasts with the earthbound figures mired in shadow below. Editor: That contrast is so clear. The lines create so much movement, though. What do you make of that? Curator: The lines themselves are highly deliberate. Consider the swirling, almost chaotic lines that define the inferno juxtaposed with the finer, more controlled lines articulating the angelic figures. The density and direction of these lines guide the eye, creating a sense of spatial depth and narrative tension. The artist plays not only with direction but also the density to suggest atmospheric perspective and volume. What does this variation evoke? Editor: I guess that it makes the heavenly figures seem much more peaceful and ordered than the people below, who seem almost desperate. It is a very clever choice. Curator: Precisely. The formal elements aren’t just descriptive; they actively construct meaning. Even the printmaking medium is important because that enabled the widespread distribution of a religious concept. The artist's selection and manipulation of form serve to illustrate complex theological ideas about judgement, salvation, and damnation in quite stark visual terms. Editor: That’s fascinating; I never thought about how the choice of the print impacts our viewing so directly, especially how the sharp contrast heightens the sense of judgement. I have learned a lot about considering the meaning of each visual component of art and how it contributes to the reading. Curator: And I think examining the medium’s impact helped to deepen my understanding of Simon Fokke's intention.