Mozes wordt gevonden 1630 - 1654

Editor: This engraving from somewhere between 1630 and 1654, titled "Mozes wordt gevonden" by Salomon Savery, presents a really striking landscape. It feels almost dreamlike, with this small scene of people discovering Moses tucked into this grand setting. What do you see in this piece? Curator: For me, this print offers a window into the complex intersection of religion, power, and identity in 17th-century Netherlands. The story of Moses, a figure of liberation, being found in the river… it speaks volumes when situated in a historical context where religious and political tensions were constantly bubbling. Notice how the "finding" is done by women. How do we interpret that in the context of the patriarchal societies of both the biblical narrative and the time this work was created? Editor: So, the act of finding becomes a distinctly female act of intervention, almost? Curator: Precisely! Think about it. These women defy the Pharoah's decree, rescuing Moses from certain death. It’s a direct challenge to the established power structure. Furthermore, Savery made a print - why a print and how does that make the art accessible in new ways? We must understand Savery's artistic choices as conscious acts within a world grappling with social hierarchy. It prompts a conversation between historical narrative and artistic license, right? Editor: It makes you wonder about who this artwork was made *for*. Not necessarily royalty or the upper crust, but who else might’ve encountered this image? Curator: Exactly. What are we to make of the idea that an image like this one was widely reproducible, for a wider population? Savery's choice to create this scene as a widely distributed print allowed for broad accessibility and distribution, carrying a powerful message of defiance. Editor: I never considered that. So the medium is really the message in some ways? Curator: Often, yes.