A battle on horseback, from 'Peace and War' (Divers desseins tant pour la paix que pour la guerre) 1638 - 1643

Curator: Stefano della Bella, a master of the baroque, crafted this etching titled "A battle on horseback, from 'Peace and War'", sometime between 1638 and 1643. It’s an incredible dance of line and form. Editor: My immediate reaction? Chaos, really, but artfully managed. Look at the frenetic energy – horses rearing, smoke billowing... It's almost operatic in its drama. Curator: Absolutely! Della Bella’s background in theatrical design really shines here. It's part of a series, meant to contrast the ideals of peace and the realities of war, and this is definitely the reality part. Editor: And let's unpack that “reality.” Wars aren’t abstract; they are experienced, and here, that experience is one of brutality. Think about the politics of representation—who gets centered in these narratives and who gets erased, silenced. This etching might show some figures in control of the situation, but you can’t escape a sense of dread. Curator: What strikes me is the incredible detail, achieved through the etching technique. Notice how the lines create a sense of depth and movement, guiding your eye across the composition? The billowing smoke is just extraordinary, almost cloud-like. Editor: Right, technique matters. But look closer—these tiny figures are likely enmeshed in a war that had real consequences: political upheavals, famines, and death. Context can alter what we see. Curator: That’s fair, and Della Bella likely experienced those consequences himself, being something of a wandering artist during times of conflict. Still, he clearly found a kind of, dare I say, beauty, even in the throes of battle. There's a palpable tension, a kind of terrible allure. Editor: I’m always wary of assigning "beauty" to violence, even represented violence. This piece provides an occasion to reflect, even unsettle, on the cost of war. Curator: Ultimately, maybe it's about finding the paradox—beauty and horror intertwined, reflecting the complex tapestry of human history. Editor: Yes. It prompts us to think about the stories we tell, how we tell them, and who gets to shape those narratives in the end.