The Virgin, hands folded on her chest, looking upwards 1729 - 1740

Frédéric Horthemels made this print of The Virgin in the early 18th century. It speaks to the period’s visual codes, cultural references, and historical associations. Made in France, this image reflects the dominant culture’s deep ties to Catholicism. In the artwork, Mary looks upward, toward a divine light, framed by clouds and angels, she embodies piety. But prints like this one weren't just devotional objects. They were also commodities, circulating in a growing art market. Institutions like the Académie Royale shaped artistic production, setting standards for style and subject matter. Horthemels’ print, with its classical composition, aligns with academic ideals but also speaks to the politics of imagery. While overtly religious, it subtly reinforces existing social hierarchies, where the Church and the monarchy were aligned. By researching period publications and the archives of institutions like the Académie Royale, we can reveal the complex social and institutional context that shaped this image and its reception. Art, in this view, is never just art. It's a reflection of its time, shaped by the forces of society.