Christus aan het kruis, met Johannes en Maria 1595 - 1599

Curator: My initial impression is one of dramatic intensity, heightened by the starkness of the lines. The sorrow is almost palpable. Editor: That's certainly one way to describe Jacob Matham's "Christus aan het kruis, met Johannes en Maria" or "Christ on the Cross, with John and Mary". It's an engraving dating from about 1595 to 1599, here in the Rijksmuseum. The print uses strong contrasts, creating a lot of visual tension. Curator: Absolutely. And notice how he’s positioned the figures at the base of the cross alongside a pile of skulls? Those are memento mori symbols, visual reminders of death, emphasizing not just mortality but Christ's sacrifice as the path to overcoming death. The skulls are there to heighten that feeling of darkness that shrouds it all. Editor: Good eye. That placement echoes the period's Counter-Reformation zeal and renewed emphasis on the power of religious imagery and the centrality of death and resurrection in Catholic doctrine. The choice of engraving, a readily reproducible medium, allowed these powerful images to spread widely, reinforcing religious devotion throughout society. It would have offered solace in a tumultuous time. Curator: True. The angels, cradling chalices collecting Christ’s blood, reinforce that idea, no? Blood is a strong symbol of sacrifice and cleansing, very visually arresting here. Also the way John and Mary are placed to mirror each other only reinforces a collective grieving of Christ’s sacrifice. Editor: Right, these weren’t just aesthetic choices. The symmetrical positioning, for instance, reflects the ordered worldview being championed. It reflects this deep socio-political need to return back to religious customs as moral anchors. Curator: It does make one pause and reflect on the deep-seated needs for hope in trying times, doesn't it? The power of imagery. Editor: It certainly does. And hopefully, this little encounter sparked even more in our listeners.