Return of the Prodigal Son 1772

Editor: Here we have Simon François Ravenet the Elder’s "Return of the Prodigal Son," a somber print with impressive detail for its size. The figures seem to be caught in a moment of deep emotion. What can you tell us about the role of images like this at the time? Curator: This print, residing in the Harvard Art Museums, likely circulated within a specific social sphere. Prints like this democratized access to grand narratives, but also reinforced existing social hierarchies. Consider the patron, Lady Lenox; her collection and its imagery would have shaped, and been shaped by, her social standing. Editor: So, the image is not just about the biblical story, but also about the status of those who collected it? Curator: Precisely. The act of owning and displaying such prints was a performance of status and piety. What do you think this performance achieved? Editor: It seems that art at this time was a public declaration as much as a personal reflection. Thanks for shedding light on the cultural context. Curator: Indeed. Examining the social life of images provides insight into the priorities of the past.