Madonna met kind 1618 - 1655

Editor: We're looking at "Madonna met kind" by Cornelis Schut, created sometime between 1618 and 1655. It's an ink drawing currently held at the Rijksmuseum. The detail is incredible, even though it's just in ink! What strikes me is how tender the moment feels despite the sharp lines. What do you see in this piece? Curator: The most compelling element for me lies in its symbolic weight. The Madonna and Child, a motif stretching back millennia, immediately evokes notions of purity, motherhood, and divine love. But notice how Schut renders them: their faces are close, almost touching, a gesture of intimacy heightened by the surrounding halo. This is more than just religious iconography; it’s an exploration of human connection and the power of the maternal bond. Editor: That's fascinating! I hadn't thought about the "touching faces" aspect adding to the connection. Does the Baroque style play into that at all? Curator: Absolutely. Baroque art is characterized by its drama and emotional intensity. Schut uses strong lines and contrasting values to create a dynamic composition, drawing our eye to the central figures. But beyond the surface aesthetics, Baroque artists often aimed to instill a sense of awe and wonder. Think about the function of Madonnas: representations of faith and comfort. By placing them in what is nearly an embrace, isn't it an emotionally driven play to bring viewers closer to both? Editor: It makes sense that the style supports a reading of human intimacy. What a touching encapsulation of motherhood. Thanks for opening my eyes to it! Curator: And thank you for pointing out that tenderness persists.