Zittende Madonna c. 1630 - 1633

Editor: We're looking at "Zittende Madonna" a print by Cornelis Bloemaert, dating back to 1630-1633. The serene mood strikes me. It feels both intimate and grand at the same time, what do you think? Curator: Intimate is a good word. Considering this work from an activist perspective, let's ask: how does Bloemaert portray motherhood and divinity, and what social statements, if any, are conveyed by this choice of subject matter? Note the gazes of the figures, too; where does the work focus our attention? Editor: I see what you mean about gazes! The halos give that "divine" aspect, but then her gaze at Christ…there's a humanness to it. Curator: Precisely! Here is a young woman, arguably disempowered by political circumstances yet invested with religious power, looking at the viewer through her son. What societal values about women are supported or resisted through her posture, her garments, her devotion to Christ? How might the average woman respond to it in her own practice? Editor: Hmmm, it is complex. It can be viewed as either aspirational and representative or placing additional pressures. I hadn't thought of it that way at first. Curator: This print circulates, visually and materially, into social practices. How do class, gender, and perhaps religious biases come into play as a wealthy individual or the Church itself displays this piece? Remember, art and power often dance a tango. Editor: That's fascinating. Thinking about power dynamics shifts my perception entirely. Now I see it as a loaded statement instead of just an image of Mary and Jesus. Curator: It's never 'just' an image. Even simple domestic scenes can represent coded social relationships and power structures if you unpack the assumptions shaping those scenes. Now, does it speak to you any differently? Editor: Absolutely, it definitely does. I am grateful that you brought a fresh and insightful approach. It’s truly thought-provoking!