Maria met Christuskind op rijksappel en twee musicerende engelen 1623 - 1660

Editor: This is "Maria met Christuskind op rijksappel en twee musicerende engelen," made sometime between 1623 and 1660 by Pieter de Bailliu. It's an engraving. The dark tones create this intense, heavenly atmosphere, but I'm curious about the orb the Christ child is standing on. How do you interpret this work? Curator: That orb is critical! It’s a ‘globus cruciger,’ symbolizing Christ's dominion over the world. Look at how Mary presents the child, who isn't just standing, but actively asserting power over that globe. Consider this within the historical context: the Counter-Reformation. Editor: So, this piece is a statement of power, then? Curator: Precisely! The Catholic Church sought to re-establish its authority, particularly after challenges from the Protestant Reformation. The radiant Mary, flanked by music-playing angels, becomes an assertion of the Church's celestial power and the divine right to rule, visualized through the maternal, life-affirming image. What does that suggest to you, seeing it as a counter-argument? Editor: It’s like, visually responding to criticisms of the Church by reaffirming core beliefs – Mary's importance, Christ’s kingship… it uses beauty and divine imagery as propaganda almost? Curator: Exactly! And Bailliu uses the Baroque style's dramatic flair to heighten that emotional impact. Consider too, the absence of women's voices. Even with Mary central, whose power does she serve and where is her own agency? These images served the power of institutions, yet lived in a world where female power faced constraints. Editor: I never would have considered all that just looking at it initially. Curator: Art always has a relationship to society, gender roles, power dynamics, even when it looks like a sweet, holy scene. Considering art's engagement with socio-political currents opens up fresh interpretive possibilities.