The Flight Into Egypt, from The Fall and Salvation of Mankind Through the Life and Passion of Christ 1508 - 1518

Curator: This woodcut, dating from 1508 to 1518, is entitled "The Flight Into Egypt," and comes from Albrecht Altdorfer’s series, "The Fall and Salvation of Mankind Through the Life and Passion of Christ.” It's currently housed here at the Met. Editor: Immediately, I'm struck by the incredible detail within such a small format. The textures of the landscape, the figures' clothing, and even the cloudy sky are so meticulously rendered with line work. Curator: Indeed. Altdorfer was a master of the woodcut, exploiting the medium's potential for both intricate detail and dramatic contrast. It is, of course, a narrative scene plucked from the Gospel of Matthew. We see Mary, carrying the infant Jesus on a donkey, led by Joseph. They are fleeing to Egypt to escape Herod's decree to kill all male children. Editor: What fascinates me is how Altdorfer collapses foreground and background. The cityscape on the hill mirrors, to a great degree, the forms and visual weight of Mary, Jesus, and Joseph at center frame. Do you read that flattening as expressive, somehow? Curator: Certainly, Altdorfer is less concerned with strict realism and more with conveying the emotional and spiritual significance of the event. The density of the trees and undergrowth presses in on the holy family; the very landscape mirrors the threat facing the family as it unfolds historically. The very lines almost convey tension, if you allow for such associations. Editor: And that looming cloud formation above feels symbolic too—ominous and protective simultaneously. I am also intrigued by the placement of what seems to be the artist’s monogram. The location almost seems calculated. Curator: The 'A' hovering directly above. Very self-aware positioning from Altdorfer who here, more than illustrating the biblical narrative, manages to create an entire mood. It reflects both a religious narrative but perhaps hints as well toward emerging autonomy of art itself as a testament to a singular creator. Editor: In many ways, the print embodies the Northern Renaissance preoccupation with both meticulous naturalism and symbolic meaning, coexisting on a single plane, just like what’s suggested by its visual syntax. Curator: Exactly. It invites viewers to contemplate not only the historical event but also its lasting theological and emotional resonance through the organization of pictorial space itself. A moving little allegory that packs a visual and intellectual punch, certainly.