Christ Enthroned n.d.

Editor: This is "Christ Enthroned," an engraving by Martin Schongauer. It’s hard to date exactly, but it’s currently held at the Art Institute of Chicago. It strikes me as quite formal and symbolic, like it’s more about conveying an idea of power than capturing a real person. How do you interpret this work, especially considering its historical context? Curator: Your initial reaction is astute. I see this print not just as a religious depiction but as a potent assertion of power dynamics during the late medieval period. Schongauer, working within the Northern Renaissance, utilizes the engraving medium to propagate and solidify the church’s authority through readily reproducible images. Look at how Christ is presented: enthroned, crowned, surrounded by angels. It's visual propaganda. Editor: Propaganda? That feels like a strong word for religious art. Curator: Perhaps, but consider the social landscape. The church held immense socio-political sway, dictating not only spiritual life but also impacting laws, economies, and everyday behaviors. By presenting Christ in this highly structured, hierarchical manner, Schongauer participates in reinforcing the era’s dominant power structures, normalising a divine right to rule. Don't you agree? Editor: I hadn’t thought about it that way, but I can see how even religious art functions within a broader social framework, reinforcing existing power structures. The act of distributing these prints would, I suppose, further disseminate these ideas. Curator: Exactly! Each impression contributes to a visual culture steeped in these established hierarchies. By engaging with such artwork, we must also confront the intricate interplay of faith, power, and artistic representation. Editor: Well, I’ll certainly never look at medieval art the same way again. Thanks! Curator: It's by examining those critical lenses that we see how artwork of this time served political and social functions. My pleasure!