Laat ons dat incroijable leven, / Een schets van 's menschen dwaasheid, geven by Glenisson & Zonen

Laat ons dat incroijable leven, / Een schets van 's menschen dwaasheid, geven 1833 - 1900

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graphic-art, print, engraving

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graphic-art

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narrative-art

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print

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figuration

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genre-painting

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engraving

Dimensions: height 394 mm, width 321 mm

Copyright: Rijks Museum: Open Domain

Curator: Glenisson & Zonen's engraving, likely produced between 1833 and 1900, titled "Laat ons dat incroijable leven, / Een schets van 's menschen dwaasheid, geven" presents us with a series of vignettes. Each little scene seems to hint at something larger. What catches your eye in this tapestry of images? Editor: I am struck by how each frame feels like a separate story, almost like panels from a comic strip, but with a slightly absurd, almost satirical tone. How might these scenes be linked or interpreted? Curator: Notice how dress codes recur and poses are repeated. How do you see the embodied semiotics informing how individuals were received in public, their clothing performing social roles. It seems a cultural memory or ideal is invoked, what could they suggest about acceptable behavior, then or even now? Are these moments "incroyable"—incredible—or do they point to the "dwaasheid," the folly, the foolishness inherent in social rituals? Are these observations or critique? Editor: It's true, everyone is very aware of their presentation. The clothing, the postures...it speaks to performance and the judgments placed upon it. So the engraving captures societal rituals. But it seems a bit cynical about it? Curator: Perhaps. Or maybe it's a gentle reminder of the roles we play and the judgments we face when stepping outside of acceptable behavior. A time capsule on paper... Editor: I see what you mean. The vignettes aren't just silly moments; they highlight a self-consciousness and commentary about our everyday existence. Thanks! Curator: My pleasure. There’s much to discover within symbols once one understands what they’re supposed to symbolize.

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