The Praise of the Good Upbringing of Children Possibly 1859 - 1860

Curator: Julius Schnorr von Carolsfeld created this woodcut, "The Praise of the Good Upbringing of Children," likely between 1859 and 1860. It resides here at the Minneapolis Institute of Art. Editor: It strikes me as stark. That detailed linework gives it a rather...unyielding quality. A rigid kind of grace, if that makes any sense. Curator: I see what you mean. Carolsfeld was working in a period where didactic art – art intended to teach – was highly valued. Prints like these circulated widely, influencing public morality and familial roles. Editor: A woodcut, of course, means the image had to be meticulously carved into the wood block itself, a labor-intensive process for potentially mass production. The distribution being a major value of this type of work. Do you think the message impacted reception more than aesthetic quality? Curator: It's hard to separate the two. The composition, the idealized figures, all reinforce the idea of a harmonious family instructed by wisdom. It’s propaganda, of sorts, for bourgeois values of the time, using a visually appealing scene to push particular ideals. The gate the man leans on appears to physically keep others outside the circle of the blessed family. Editor: I’m drawn to the contrast in texture – the smooth faces of the children against the heavily worked drapery. This carving work involved many specialized craftsmen in workshops which also served a great function in culture, particularly within Germany. What are your thoughts on the anachronistic, almost medieval costuming? Curator: The nod to the medieval past would have been intentional, lending a sense of timeless authority to the scene. Recall the rise of German nationalism during this period. By referencing the art of the past, Carolsfeld connected his message to a broader historical narrative, emphasizing tradition. It is possible there are Christian or biblical references being invoked here as well. Editor: Yes, it becomes another layer of legitimacy, another attempt to assert the importance of those values. Overall, I appreciate its technical execution within that landscape of artisan and workshop labour. Curator: Exactly. Studying the context enriches our experience and knowledge of even a piece as seemingly straightforward as this one. Editor: Definitely something to consider while walking the halls and looking at the vast arrangements of printed materials here at the MIA.