Fama en de personificatie van de kunsten 1693

Curator: Here we have a drawing by Samuel Bottschild, made in 1693, titled "Fama en de personificatie van de kunsten". It's currently held at the Rijksmuseum. Immediately I notice it's executed in ink and demonstrates figuration, characteristic of the Baroque style. What are your initial impressions? Editor: Wow, what strikes me is this dizzying, swirling vortex! It's an absolute Baroque explosion, right? Airy yet theatrical, almost a dream. Curator: The medium used—ink on paper—certainly lends itself to the creation of fine lines and intricate details. It appears Bottschild adopted printmaking strategies in this drawing for a more efficient reproduction for distribution of visual idea, no? The choice is economical and allows his allegorical representation to reach a wider audience. Editor: Absolutely. But beyond that, look at the way Fama, that winged figure trumpeting above, dominates the composition, drawing the eye upwards. The swirling cloudscape seems ready to dissipate at any second. She really looks triumphant. I love how precarious yet grand everything feels. Curator: Given its subject, its interesting to note the emphasis Bottschild seems to place on print culture. He appears less focused on singular precious objecthood. The emphasis rather lands on multiplying and distributing both Fama (or fame itself) along with representations of the arts more broadly. This also highlights the workshop’s technical skill with graphic arts. Editor: True, although personally I find it interesting to speculate, knowing the limitations inherent in ink, just how Bottschild captured all this detail. It reminds me that every piece carries its making built into it. It looks almost as if this one grew. Curator: The paper support also bears witness to changes in access and material production practices of that time. These drawings were often meant to disseminate political, religious and social beliefs of powerful patrons to audiences outside the court. Its role within material culture is really what stands out for me. Editor: For me, the most intriguing detail is this whole precarious assemblage ready to collapse at any moment; Fame being so fickle as it is! It feels like it wants to become the kind of fleeting memory to chase your whole artistic life. A wry smile to fame itself perhaps? Curator: Indeed! Understanding the cultural economy within which Bottschild operated certainly enriches how we regard not only the artist himself but also those workshops and laborers instrumental in materializing artworks that visually conveyed ideas and tastes for their time. Editor: I love thinking that those tastes themselves are ever evolving; even something set down in ink still moves. It kind of frees us all up to invent. Thanks for that material view of artmaking.