Abraham verwelkomt de drie engelen 1637

Editor: Here we have Jan Barentsz. Muyckens' engraving, "Abraham verwelkomt de drie engelen," from 1637. It depicts Abraham kneeling before three figures in robes. There’s a stark contrast between the light figures and the dark landscape on the left, making them appear otherworldly. What stands out to you most when you look at this print? Curator: I'm struck by how this scene, rooted in religious narrative, becomes a platform for exploring themes of hospitality and divine intervention, and, critically, their intersection with power dynamics. Consider Abraham's posture – kneeling, submissive. Muyckens uses the visual language of hierarchy. How might this relate to the social hierarchies of 17th century Netherlands? Editor: I see your point. His posture indicates he is in an inferior position compared to the angels. But where is the disruption? Curator: Think about the economic and political landscape of the time. The Dutch Republic was burgeoning with mercantile power, built, in part, on global trade and, unfortunately, colonization. Abraham's welcome could also be interpreted as the negotiated welcome that early colonizers gave inhabitants they would have colonized, but presented with an apparent agreement to share power. What kind of agreements can colonization come with and who are the people benefitting from such agreements? Editor: So you're saying the image can be a commentary on power relations disguised as religious reverence? Curator: Precisely. It invites us to question the narrative and identify hidden inequalities and the potential for a coersive and imbalanced agreement between colonizer and indigine. We must consider whose stories are being prioritized, whose voices are being amplified, and who benefits most from these so-called divine interactions. Editor: This gives me so much to think about. It shows me how crucial it is to investigate social structure in the background of artwork and how important context is. Curator: It's about peeling back the layers to reveal the socio-political fabric woven into even seemingly straightforward religious depictions. Hopefully viewers feel called to disrupt power imbalances they can see.