Madonna 1741 - 1820

Curator: Right now we're standing in front of Abraham Delfos's "Madonna," a work that the Rijksmuseum estimates to have been created sometime between 1741 and 1820. It’s rendered with pen and pencil. Editor: It feels like a whisper. That softness, the delicate hatching... and the tenderness of the pose, of course, the mother looking down at her child. It gives off this sense of almost fragile beauty. Curator: It’s interesting that you call it fragile. Considering the prevalence of mother and child imagery across cultures, and religions, it’s actually a potent symbol. One of hope, renewal, creation... Editor: Oh, absolutely. But look at how Delfos rendered the veil. The folds around her face create a sense of protection. A sacred space, perhaps. There's a lot of light used too, illuminating her features. She almost glows. But a shadow in her eyes as well; she gazes in almost wistful prayer, perhaps pondering her child’s future. The symbols are comforting, the drawing style infuses some mystery and nuance. Curator: I agree about the protection element—and the possible sorrow. A knowing of what's to come, a weight of responsibility... We see that so often with the Madonna. This particular interpretation, though, seems influenced by the Neoclassical movement – which of course placed value in classicism and religious belief. There is also some playfulness though. I love the kid, reaching so vigorously towards her. Editor: The baby reaching is vital here. And very familiar. Isn't that always the direction of hope? That yearning, reaching gesture, both primal and completely fresh, forever young? I can stand here imagining Mary thinking what her kid would do in life! Curator: So it's as hopeful, as life affirming as it is nostalgic and sorrowful! All thanks to lines and shadows. Editor: Exactly. This artwork is a good demonstration of symbols not only pointing to the past but living within us as we stand here in front of it in the present. What more can you ask of art than that?