Februari 1777

Curator: Immediately, this feels like a glimpse into a play—a satire, perhaps. The figures are caught in such heightened poses, especially the harlequin figure, seemingly startled by the woman. It gives it such theatricality! Editor: This piece is "Februari," an etching by Daniel Nikolaus Chodowiecki, dating back to 1777. It's held here at the Rijksmuseum and offers a fascinating window into the social mores of the late 18th century. Curator: 1777! So, right at the cusp of major shifts. The Rococo style is still clinging on, but there's a nervousness, an artificiality on display, as with all rococo. The frantic gesturing…is it commenting on the performance of identity, of hiding behind masks? The Harlequin character so on the nose...I love it, ha! Editor: Exactly! The Harlequin, typically a figure of mirth, seems to have had his mask ripped away, or perhaps is about to be unmasked by this upper-class woman. Chodowiecki used these prints to circulate ideas widely—art as a form of social commentary, democratizing ideas for all levels of the bourgeoisie. Curator: "Democratizing" through art... but those levels were very strictly separated. This Harlequin, while a fool, would always still know their place in the world. Editor: Indeed, the print subtly critiques the superficiality of courtly life. Notice the woman's gesture—almost aggressive as she attempts to take away his mask? There's tension there, maybe an attempt to expose or embarrass this Harlequin for some personal transgression. It suggests that regardless of how convincing someone is, one’s 'true' self will always shine. Curator: I can almost hear the sharp intake of breath from the audience when she moves! Editor: These weren't large prints. We have to imagine these are for intimate spaces. Private thoughts in response to political or social happenings, for one's peers. Think about who buys and sells works, who keeps and cherishes them. Not necessarily the Harlequin. Curator: So true! The fact it's an etching—a process of layering and revealing, of inking the lines—seems to fit perfectly. There is nothing else that gives art so much power as an audience for it. In this etching, it feels amplified by its tight rendering and theme, a visual exposé of social performance itself. Editor: I agree entirely. It’s a piece that remains engaging because it understands power dynamics. Curator: Art makes it easy to expose power! This Chodowiecki is definitely making its work easy...