Flagellation of Christ in an ornate Frame 1537 - 1550

Editor: We're looking at "Flagellation of Christ in an ornate Frame," a print, engraving, or drawing, from the Italian Renaissance. It's dated to between 1537 and 1550 and currently resides at the Met. It's a fairly small-scale piece and quite striking. What is your perspective on this piece? Curator: Well, right off the bat, what grabs me is the, shall we say, rather... energetic composition? I mean, there's Christ, poor chap, in a tight spot, smack in the middle of all that swirling movement. It is as though Christ is trapped in an architectural nightmare. Look closely; is that architectural space logical? How do those figures relate? This is less about accurate historical depiction and more about evoking emotional drama, wouldn't you agree? Editor: Yes, it’s incredibly chaotic. Almost theatrical. The architecture is fascinating. Did this style frame the images from this time often? Curator: Frames like this became very popular, almost trendy, ways to “present” prints in a book, as independent sheets to be collected, or even pasted onto walls. The image within is harrowing. Think of the artist almost playfully teasing our desire for beauty, and harmony, but delivers such cruelty. But tell me, does this image "move" you? Editor: Absolutely. The artist cleverly juxtaposes serenity and brutality. The engraving style really makes it an overwhelming image to unpack. I am surprised that such detail can be made from such a small medium. Curator: It is almost paradoxical, right? And isn't that the essence of art itself - wrestling with paradox, making sense of the senseless? Editor: It really is. I learned so much; it gave me much to think about regarding historical framing of the events and how it juxtaposes the image and real feeling that they portray. Curator: Agreed. A fruitful paradox is revealed today. I feel newly energized after viewing it with fresh eyes.