Geseling van Christus / Doornenkroning en Bespotting van Christus 1597 - 1654

Editor: This is a print titled "Geseling van Christus / Doornenkroning en Bespotting van Christus," dating roughly from 1597 to 1654, held at the Rijksmuseum and created by an anonymous artist. It looks to be ink on paper, specifically an engraving. The composition appears to divide into two distinct scenes within a single frame, and the mood evokes suffering. What do you see in this piece? Curator: Indeed. Notice the deliberate contrast created by the artist through the use of light and shadow. The stark lines of the engraving lend a sharp, almost brutal quality to the scenes depicted. The architecture is prominent, creating defined spaces that are very important to create the scenes: framing the violence and humiliation inflicted upon Christ, and establishing the physical power held by the authorities versus that of the condemned. Editor: So the artist uses visual language—line, space, contrast—to tell the story? Curator: Precisely. Consider how the figure of Christ is positioned in both scenes. His vulnerability is accentuated not only by his physical state but also by his placement within these architectural confines and the gestural dynamic with secondary figures. The balance and proportion dictate emotional impact. The artist carefully arranged the figures to tell the story. Do you see a pattern within each scene's construction? Editor: Yes, the repetition of the architectural structures within each space allows us to consider a connection or visual flow from one composition to another, although they could be separate moments in the Passion. Curator: Exactly! The mirroring effect within these scenes serves not only as a visual device to give wholeness and completion to a larger print composition. Editor: It is incredible how a study of these elements reveal a narrative strategy. Thank you for your perspective! Curator: A careful consideration of an artist’s visual choices brings the narrative forward in new and nuanced ways.