Geloof (Fides) Possibly 1585 - 1777

Editor: We’re looking at "Geloof (Fides)" by Jacob Matham, made sometime between 1585 and 1777. It's an engraving, a print of a female figure holding a crucifix. The level of detail is really striking, especially the textures created just with lines. How do you approach analyzing something like this? Curator: The organization of line, light, and shadow provides a framework for understanding this work. Consider the engraving itself. The controlled use of line weight and density to model the figure, creating depth and volume within the monochromatic palette, reveals an adherence to form and precise representation. Note the drapery; observe the articulation of its folds through hatching and cross-hatching. Does it suggest movement? Editor: I see how the lines create a sense of depth and texture, especially in the fabric. And, yes, it does look like it's billowing slightly, giving her a dynamic presence. What does that say about the rest of the composition? Curator: Let us examine the formal relationship between the figure and her attributes—the crucifix and the book. The lines of her body subtly echo the lines of the cross, reinforcing its verticality and its dominance within the composition. Now, consider how the lines direct the gaze: what is highlighted by the contrasts? Editor: The light seems to fall mostly on her torso. This directs us to look not at her face first, but her body. Curator: Precisely. The tonal contrasts around her body are more dramatic than the landscape elements, which seem sketched or suggested. So what does the materiality of the lines communicate about the artist's, perhaps even the patron's, objectives? Editor: That the human figure is the subject and that everything else is simply secondary. I now better understand what formal considerations communicate about subject matter in prints. Curator: And I’ve enjoyed how your observations underscore the strength of the engraving medium, even with so little in the way of materials.