Vlucht naar Egypte 1662

Editor: So here we have Moses ter Borch’s "Flight into Egypt," created around 1662 using ink and charcoal on paper, currently housed in the Rijksmuseum. I'm struck by the overwhelming use of muted tones; the charcoal and ink create a somewhat somber atmosphere. How do you interpret this work, focusing on its formal aspects? Curator: The stark contrast in values immediately directs the eye. Notice the limited palette – the artist strategically uses variations in the charcoal and ink washes to delineate form and suggest depth, wouldn't you agree? The composition leads you into a journey, the implied diagonal of the donkey guides you, then is stopped by a strong dark, as if suggesting a threat looming behind them. The economy of the stroke to create such atmospheric intensity is brilliant. Editor: That’s fascinating, I hadn’t thought of the strategic diagonal like that. Do you think the medium contributes specifically to the impact of the narrative here? Curator: Absolutely. The inherent qualities of charcoal lend themselves to creating soft, diffused effects. Consider how the blending of charcoal mimics the obscuring darkness that can imply danger or uncertainty within a biblical narrative like this one, but the landscape too feels more immersive through its very lack of definition. Is this darkness symbolic? What do you think of its materiality when connected with its Baroque Landscape Style? Editor: That's an interesting connection to make between style and medium. I had only focused on the atmospheric, emotional tone. Curator: Indeed, examining the interplay of light and shadow and the artist's deliberate use of these tonal gradations provides a deeper insight into the thematic and narrative content beyond its stylistic convention. Editor: I see that more clearly now! Looking at it from a more structural view really helps to reveal further meaning and see intention in the execution of this piece. Curator: Precisely. Approaching art with a keen eye for the formal devices not only enriches our appreciation of visual rhetoric but opens up different interpretative portals too.