Omnia spernit 1615

Curator: What a curious little print. I must admit, when I first glanced at it, it struck me as wonderfully bizarre and almost comical. There's something undeniably charming about its strangeness. Editor: Indeed. Here we have "Omnia spernit," a 1615 engraving by Otto van Veen, currently held at the Rijksmuseum. At its heart is an allegorical scene rendered with impressive detail despite its small scale. Van Veen’s focus here is on earthly and heavenly love and the renunciation of worldly possessions. Curator: Allegory, yes, it has all the hallmarks. What about those angels? Are they trampling a chest of riches with what looks like complete indifference? I find myself drawn to the contrast: those tangible earthly goods, beautifully rendered in fine lines, versus the ethereal landscape in the background and an angelic disregard for wealth. I keep thinking: Does indifference to material wealth negate the significance or the joy it can bring to other people's lives? Editor: That "indifference" is precisely the point, isn't it? This work resonates with a tradition of spiritual and moral guidance where earthly treasures are symbolically rejected. Note how the light from the divine above washes over the landscape with its radiant presence that pulls focus from the riches beside our little angels. What are the material pleasures in life versus what lies in Heaven. Curator: But it feels more nuanced than simple rejection. The treasure is still beautifully depicted—valued in its artistic representation. Maybe it's about finding a balance, understanding the temporal nature of worldly goods, but still acknowledging their beauty. Or even embracing the beauty while actively participating in creating good with that beauty. I find the composition quite dynamic: The gestures, the light… It guides you. Editor: Indeed. There’s also a distinct contrast of verticality, for instance, notice how one Angel extends a guiding arm toward a faraway church while the composition focuses more on the horizontal plane in which the figures tread. It encourages a viewer to remember the contrast between earthly presence, physical bodies and goods versus a divine goal set forth on high. It’s an invitation to find inspiration in your day to day that leads you higher. Curator: Ultimately, though, isn't that the best kind of art—the kind that makes you question your own values? Thank you, Otto van Veen. Thank you, "Omnia spernit." It has sparked many thoughts this afternoon. Editor: An insightful observation indeed. The layers of meaning Van Veen imbues in the visual lexicon can sustain dialogues about value systems over time, a cultural resonance if you will.