Koning Joram door een pijl doorboord, Izebel staat naast hem 1635

Editor: We are looking at “King Joram pierced by an arrow, Jezebel next to him,” an engraving made around 1635 by Abraham Bosse. The stark contrast created by the lines lends it a dramatic, almost theatrical feel. What strikes you most when you see this piece? Curator: It feels almost like a scene plucked from a play, doesn't it? The frozen gestures, the slightly exaggerated grief of Jezebel—it’s all very Baroque. But look closer. It is not just the drama; Bosse has etched this image with fine lines and crosshatching to create shadows that speak volumes. Think of what that means - Bosse is inviting us to think on these tiny little marks that coalesce and construct emotion, movement, a world in miniature. Did you notice how Jezebel is looking away? Editor: Now that you point it out, I do! Why do you think that is? Curator: Perhaps she's turning from the consequences of their reign. These weren't the best monarchs, and this isn't a pretty story; it is about divine retribution, and maybe, the artist shows the turning away is a kind of cowardice? It's interesting to consider Bosse's choices – what he includes, and more importantly, what he leaves out, right? Editor: I hadn't considered the act of leaving something out to be such a vital aspect! It's making me rethink how I view engravings altogether. Curator: Art is often as much about what's unseen as what’s blatantly there! This piece, for me, really whispers of those subtle power plays between morality and the canvas. Editor: Definitely something to consider when viewing artwork from now on. Thanks for the insight!