The Virgin seated with the infant Christ on her lap, the young Saint John the Baptist kneeling on Christ's cradle and kissing his foot, a lamb at right, after Reni 1645 - 1680

Editor: This print, "The Virgin seated with the infant Christ on her lap, the young Saint John the Baptist kneeling on Christ's cradle and kissing his foot, a lamb at right, after Reni" by Jean Boulanger, created sometime between 1645 and 1680, features Mary with the two children in a very intimate setting. The textures, from the curtain to the lamb's wool, seem incredibly detailed for an engraving. What can you tell me about the historical context of this piece? Curator: This print offers an intriguing lens through which to view the socio-political role of religious imagery in 17th-century Europe. Prints like these, often based on paintings by celebrated artists such as Guido Reni, facilitated the dissemination of religious ideals and Baroque aesthetics beyond the elite circles who could afford original artworks. The demand for these images speaks to the church’s efforts to engage with a broader audience, wouldn't you agree? Editor: I see what you mean. So, it's less about individual artistic expression and more about mass communication and the influence of the church. Curator: Exactly! Think of it as early modern propaganda, subtly reinforcing religious narratives and social hierarchies. Consider, too, where this would be displayed. Not in a museum, obviously, but likely in a private home, or perhaps a less affluent church. Its public function differs greatly from that of a monumental altarpiece. How might that change our understanding of its purpose? Editor: That's fascinating! I never considered how the artwork's *intended* audience could shape its meaning so much. It definitely adds another layer to appreciate. Thank you! Curator: And thank you. It's important to consider the artwork's journey from the artist's studio to its place in the world.