Madonna as Protectress c. 1470 - 1480

Editor: Here we have "Madonna as Protectress," a print dating from around 1470-1480 by an anonymous artist. It's small, quite simple, but it has a compelling protective feeling. What do you make of it? Curator: It's interesting how the artist chose printmaking, typically associated with wider accessibility, to depict the Madonna, a traditionally elite subject. This choice inherently broadens her protection, making her image more accessible to a public that might not have afforded paintings or sculptures. It is also coloured, which makes it that bit more fancy, so what would a regular person at that time thought when seeing something like this? Editor: That's a great point about accessibility. It makes me think about the role of these images in people's homes. Were they like, little domestic altars? Curator: Precisely! They weren't just art; they were devotional objects, part of daily life. How would this Madonna reinforce social hierarchies or offer solace in a turbulent era? The masses find both a religious meaning in them, and the elites commission them to stay relevant and get blessings from god. Editor: So, it's not just a nice picture of the Madonna, it's connected to so many larger forces. It makes you wonder, why are these print available to everyone if it does nothing for the elites? Curator: Absolutely, thinking about who had access to such images, and under what conditions, is crucial to understanding their historical impact. Did this accessibility threaten the Church’s traditional control over religious imagery? And the protection itself - does it symbolize spiritual protection or a more direct appeal for safety in times of upheaval? Editor: This completely shifts how I saw this image, from a simple religious image to a political statement and also the social forces within! Curator: Exactly. Analyzing art through the lens of its social context really unlocks its potential for understanding the past.