Straf van Haman before 1566

Curator: Take a look at "Straf van Haman" by Cornelis Bos, likely created before 1566. It's currently held at the Rijksmuseum, and this drawing is one page in a bound personal sketchbook. What's your initial response? Editor: Oh, it's like a snapshot of righteous fury. The figure has this incredible tension—his muscles coiled, ready to strike. It's quite dramatic, even in such a small scale work on toned paper with watercolors and colored inks. Curator: Yes, the dynamism is palpable. Bos really captures that decisive moment just before the hammer falls. Given the historical context, this rendering of Haman’s execution packs quite a punch. Editor: It really does! The technique adds a lot – that watercolor bleed around the base feels like rising heat or an unsettling aura. What strikes me is how this medium and method are both used, offering a rawness, a first-thought capture that brings the story to life in this sketchbook format. Curator: The sketchbook context is vital. This wasn't meant for public consumption, granting Bos greater expressive latitude. The use of watercolour is particularly interesting. Notice the way it softens some edges, contrasting the harshness of the subject matter and adding an unexpected layer of texture, especially combined with pen and ink. The aged quality of the paper further intensifies this. Editor: I am intrigued by its immediacy. Despite the violent scene, there's something incredibly compelling about its execution and inherent mood that the artist captures in this sketchbook. This intimate setting is perfect to ponder how retribution has manifested through art history over time, offering viewers a space to sit and consider their impressions about punishment itself. Curator: Exactly. The sketchbook setting is the context, adding depth, intimacy and rawness of a captured thought to an iconic religious image and theme. Editor: Thank you.