Heilige Thomas in de hemel 1648 - 1671

Editor: This is "Saint Thomas in Heaven," an ink and engraving drawing by Samuel van Hoogstraten dating sometime between 1648 and 1671. It has this intense, layered composition with Thomas and crowds of figures. What social factors might have driven the making of a piece like this? Curator: Well, remember that in the Baroque period, art was deeply intertwined with the socio-political power of the Church. Van Hoogstraten, working within that framework, uses the iconography of Saint Thomas to convey a specific message. Consider the Counter-Reformation. What role do you think imagery played? Editor: So, it was about visually reinforcing faith during a time of questioning and Protestant reforms? Curator: Exactly! The detailed engraving, the sheer number of figures reaching to heaven, and the radiant light—all are carefully orchestrated to evoke a sense of awe and inspire religious fervor. Note, also, where this was intended to be viewed: this wasn't a large painting in a wealthy home, but a relatively reproducible engraving. That makes a statement about the democratizing of religion, doesn’t it? Editor: It’s fascinating how the choice of making a print reflects a desire to reach a broader audience! This makes me see it in a completely different light now. Curator: Precisely! And analyzing art through this lens helps us understand not just what was depicted but why, and for whom. Editor: Thanks! I'll never look at Baroque art the same way. I used to see religion, but now I see power too!