Solomon's Idolatry [I Kings, 11:1-8] 1512 - 1522

Curator: Looking at this intriguing engraving from the early 16th century, we're viewing Lucas van Leyden's "Solomon's Idolatry" housed here at the Met. It's a pen illustration capturing a moment ripe with religious tension and social commentary. Editor: My first impression? Dark. And a bit... ominous. There's a weight to the figures, a gravity pulling them downwards, mirrored in the somber lines. The light dances eerily around them as if catching the devil in action. Curator: Exactly. Van Leyden masterfully employs line work to depict depth and emotion. Notice how Solomon, led astray by his wives, stands almost precariously, his back turned to us as he appears to engage in the heretical act of offering sacrifices. The composition really emphasizes his spiritual descent. Editor: That central figure, atop what looks like a celestial globe... it's unsettling. A clear symbol, I think, of corrupted power and misguided worship. Van Leyden sets the stage in a theatrical way, but one where we seem to witness the unfolding tragedy as an inevitability. Curator: It's fascinating how Van Leyden uses the detailed surroundings to enrich the narrative. The figures are positioned in relation to each other to clearly depict this tension in status and moral compass. I am keen to stress that he used only engraving medium with pen and ink! Remarkable detail and accuracy that one can only appreciate up close! Editor: The northern Renaissance love of ornamentation is also striking. All those tiny figures... but to come back to what strikes me… Is that despair I see? A knowingness, particularly on the faces of those observing? Even a subtle rebellion? Curator: Perhaps a glimmer of resistance, you're right! These women and servants surrounding Solomon also play pivotal roles, challenging conventional depictions through the detailed composition of each figure. What are they planning next...? The tale invites complex speculation. Editor: In the end, "Solomon's Idolatry" isn’t just a historical depiction. It is a lens through which we can view broader themes about power, the pitfalls of religious faith, and, finally, that precarious balance between tradition and human frailty. Curator: Van Leyden makes it personal, immediate and so powerful! What a superb exemplar of this genre.