Aeneas 1745

Editor: This engraving, "Aeneas" by Johann Gottfried Haid, made in 1745, really strikes me. The swirling baroque frame and the dramatic scene within feel incredibly dynamic. But what’s your take? What stands out to you in this piece? Curator: I see a potent narrative woven with threads of duty, patriarchal responsibility, and even the seeds of empire. Aeneas, laden with his father, Anchises, literally carries the weight of tradition, of history. Do you notice the burning city behind them? Editor: Yes, the background is quite striking—a city ablaze. Curator: That's Troy, and its destruction isn’t just a backdrop. It signifies a break from the past, but also a necessary foundation for the future. Aeneas isn't just saving his father; he’s preserving lineage, a cultural heritage destined to be reborn in Rome. But consider, too, whose stories get centered? Who is left behind in the ruins? How do we understand this moment of flight through the lens of trauma and displacement? Editor: So, it’s more than just a heroic rescue; it's about power, inheritance, and the narratives that legitimize domination? Curator: Exactly. And while it glorifies filial piety and the ‘divine’ right to rule, we should question whose piety and which rulers benefit from this constructed image. How might a contemporary artist respond to this imagery? Editor: I never would have considered all of those aspects. It’s fascinating how one image can reveal so much about the social and political climate of the time, and also how that can be read against contemporary contexts. Curator: It is an intersection between the historic and the now, enabling us to bring to light those that have been left behind by colonial patriarchy.