Iris susiana (sørge-iris) 1635 - 1664

Editor: Here we have Hans Simon Holtzbecker's "Iris susiana (sørge-iris)," created between 1635 and 1664 using gouache and watercolor. It's striking how dark and velvety the iris appears, almost melancholic in its beauty. How do you interpret this work? Curator: Holtzbecker's botanical illustration operates within a complex historical framework. Consider the scientific and artistic pursuits of the 17th century: The rise of empirical observation intertwined with expanding colonial endeavors meant plants were more than just beautiful; they were commodities, specimens, symbols of power. What might this 'melancholy' you perceive reveal about the cultural understanding of nature during that period? Editor: Well, knowing it was made during a time of colonialism makes me think about the ownership and classification of the natural world. Was this iris, depicted in such detail, a way of possessing it, even metaphorically? Curator: Exactly. Furthermore, the intense focus on the iris's almost black color makes me consider its connection to notions of mourning and mortality—the term "sørge-iris" in itself signifies mourning iris, a very dark and intense take on floral symbolism. Do you think there's a relationship between its stark appearance and broader social anxieties during that time? Perhaps religious upheaval or anxieties surrounding the black plague. Editor: That's fascinating, I hadn't considered the link between its name and the social context. The intensity of the color now seems less about pure aesthetic beauty and more about conveying a sense of unease or even dread. It seems to bridge art and sociopolitical narrative, what can be taken from just a watercolour! Curator: Precisely! And these connections, these intersections, make analyzing art so rewarding! It goes beyond brushstrokes, and truly reflects a dialogue with the world it was created in.