Jupiter en Europa c. 1537 - 1555

Curator: What first strikes you about this engraving, Jupiter en Europa, crafted by Cornelis Bos somewhere between 1537 and 1555? It currently resides here in the Rijksmuseum. Editor: The tempestuous sea—all this hatched labor, all this etched metal transformed to mimic rough water. There’s an anxiety etched into it, not just the water, but the fleeing figures on the shoreline. This wasn’t a relaxing boat ride, was it? Curator: Hardly a pleasure cruise. We’re witnessing Jupiter, disguised as a bull, abducting Europa. It's pure Mannerism, playing with form and drama. Notice how Europa clings, a cascade of fabric mirroring the waves below. But what about this translation into print fascinates you? Editor: Oh, absolutely the process of engraving. The precision of the lines to suggest so much, and the material of this print. I imagine the skilled hand wielding the burin, how laborious that process was in producing copies, feeding into a circuit of artmaking and consumption. Every mark a decision. I suppose, that is where the intention rests. Curator: It certainly feels… deliberate, a narrative unpacked through meticulously planned lines. I sense both allure and fear in Europa's posture, she doesn't seem like she has quite made up her mind on this matter. This blend of mythological drama with technical prowess, what effect does that hold for us now? Editor: Well, it certainly demonstrates how deeply intertwined labor, mythology, and power were in the 16th century. This is more than a depiction of abduction; it’s a study of materials, skill, and production in Early Modern Europe. This work speaks to the era of burgeoning workshops, as objects and art moved from patron-driven one offs into a market with supply, demand, skilled labor, etc. What could have become, in essence, a cheap medium, instead becomes very, very potent. Curator: It reminds us, doesn't it, that even the grandest stories are crafted through the humblest of means, and within the currents of their time. Editor: Indeed.