Maria met kind met de opdrachtgever, de apostel Andreas en de aartsengel Michael 1759

Curator: Paulus Constantijn la Fargue's engraving from 1759, "Maria met kind met de opdrachtgever, de apostel Andreas en de aartsengel Michael," seems incredibly intricate. What is your immediate impression of it? Editor: I'm struck by the way it manages to feel both classical and utterly unsettling at the same time. The composition, split into those almost architectural panels, and all that very Baroque drama gives it this strange energy, like a repressed scream in visual form. Curator: Indeed. La Fargue, through these panels, seems to dissect religious iconography. The Madonna and Child sit serenely on one side, a vision of gentle divinity. But the other panel… St. Michael, standing over a prostrate devil—a far more active, almost violent image. There's real tension there. What symbols really grab you in this print? Editor: The placement of St. Michael opposite Mary—good vs evil; sacred versus profane… or is it? The angel seems almost overburdened. And then I keep noticing that tiny figure of what I assume to be the 'opdrachtgever', dwarfed and seemingly crushed, in between. The devil lying on the ground is barely demonic! There are so many elements within these panels, are we sure this image seeks a classical purity? Curator: You’re right. There's almost a vulnerability in all figures. It reminds me that in baroque art the figures and drama are intended to move one's emotions! But thinking more historically… We know La Fargue came from a family of artists. What elements in the engravings style stand out? Editor: His choice to use engravings in that old style creates a historical aura, echoing traditional religious artworks. The fine lines demand you examine it closely, prompting a deeper consideration of faith, doubt, and what I think is a hidden level of human fallibility… a narrative complexity behind these symbols of piety. The clouds upon which Maria sit contrast with the sharp cut architectural structure of both panels. What's this juxtaposition asking us to see? Curator: The sharp contrast heightens the dream-like, idealized presence of the Madonna. But even she appears, dare I say, melancholic. I wonder if this isn’t a commentary of religion in the 18th century! Perhaps he meant to dissect religious belief as his era turned to "reason." Editor: Maybe. Or, La Fargue captured that eternal battle: belief vs doubt. His delicate lines whisper not of simple faith, but the ongoing drama. That appeals to me! Curator: So well put. What a journey through such a tiny and yet vast world.