Venus straft Amor after 1617

Curator: Let's turn our attention to this intriguing engraving, "Venus straft Amor," dating from after 1617, currently held in the Rijksmuseum. It is created with ink on toned paper. Editor: My first impression is a potent mix of drama and vulnerability. The composition feels tightly packed, the textures almost overwhelming for such a small scale piece. Curator: Absolutely, the compressed figures heighten the emotional intensity. From an intersectional feminist perspective, we see Venus, usually a symbol of love and beauty, enacting violence, literally punishing Cupid, who represents love. This subverts the conventional representation of femininity and the maternal, creating a nuanced image. Editor: It certainly challenges conventional ideas. And what about the materials, though? The choice of engraving allows for incredibly fine detail. Look at the ways the lines create shadows and contours, building volume. There is labor involved, especially since there is no credit in the information of authorship. Curator: That's a compelling observation. The laborious process contrasts sharply with the seemingly spontaneous depiction of domestic violence. Perhaps this piece speaks to the era's ambivalent relationship to classical mythology and the complex realities of power dynamics. One sees how even gods might perpetrate patriarchal norms through domination and coercion. Editor: It speaks to the production as well. It really has a handmade quality – this isn’t some slick mass-produced print. And this also points to a complicated issue of skill. To become adept in engraving is arduous, involving knowledge of materials, chemical processes, and sheer, practiced skill. Curator: A fruitful observation of skill and artistry within the confines of morality at this time. Considering both these issues of Venus enacting violence and this artist practicing craftsmanship we get insight into these issues of skill. Thanks for making visible labor in art. Editor: Thanks for seeing these gendered and class dimensions of the Baroque.