Massacre of the Innocents (unfinished) 1670

Editor: This is Melchior Küsel's "Massacre of the Innocents (unfinished)," held at the Harvard Art Museums. It’s a small, stark print, and the scene is undeniably violent. What strikes you about the imagery here? Curator: The power of this image, even unfinished, lies in its representation of state-sanctioned violence. Consider the historical context: religious wars, political instability. This print, though depicting a biblical event, resonates with contemporary anxieties about authority and the abuse of power. Editor: So, you're saying it’s less about the religious narrative and more about the socio-political implications? Curator: Precisely. The "unfinished" aspect even adds another layer. Is it a commentary on the endlessness of such conflicts, a deliberate choice to leave the narrative open-ended? How does the institutional framing of such an image shape public perception? Editor: That’s a great question. I hadn't considered how the museum itself influences our reading of the piece. Curator: It's a constant negotiation between the artist's intention, the historical moment, and the institution's interpretation.