Hoogmoed 1552

Editor: This is “Hoogmoed,” or "Pride," by Heinrich Aldegrever, from 1552. It's an engraving. There’s something a bit unsettling about the central figure on horseback. The horse seems to trample a lion… and is that a papal tiara she’s wearing? How do you interpret this work? Curator: Well, the discomfort you’re feeling is precisely the point, I think. Aldegrever, through meticulous lines and symbolic language, challenges the viewer to consider the seductive yet destructive nature of pride. This wasn’t just vanity, but hubris – the kind that challenged divine authority. Notice how the central figure, possibly a personification of pride, isn’t simply riding a horse; she’s crushing a lion, often associated with strength and nobility. It is pride subverting these good traits! Editor: That’s powerful. And the papal tiara? What does that signify in this context? Curator: In Aldegrever’s time, such imagery was explosive. The tiara, a symbol of ultimate spiritual authority, becomes ironic when worn by "Pride". Perhaps he’s critiquing religious institutions, suggesting they too can fall prey to arrogance and corruption. Editor: I never would have noticed the religious aspect. Do you think he was criticizing an organization directly? Curator: The artist isn’t being specific. Notice the words "Mater et omnigeni fons scaturigo mali,” at the very bottom which can be translated as, “Mother and all-generating fountain of evil." I believe he challenges the structures that could facilitate these evils by his artistic representation and use of symbolism. I find it truly compelling how it pushes boundaries within established norms. Editor: It makes you realize art of the era isn't as buttoned-up as one might think! Thank you! Curator: Exactly! I have learned so much in my experience through art. What a marvelous and engaging topic for me!