Joshua Halting the Sun and Moon n.d.

Editor: This is "Joshua Halting the Sun and Moon," a pen and ink drawing of undetermined date, by Raphael, currently housed in the Art Institute of Chicago. It's a flurry of activity, a real explosion of figures rendered with incredible detail. What historical narratives are interwoven in a drawing like this one? Curator: The dynamism immediately strikes you, doesn't it? What's compelling to me, from a historical perspective, is thinking about the revival of history painting during the Renaissance, and how artists were striving to visualize narratives from both classical antiquity and the Bible, imbuing them with a sense of theatricality and drama. Consider how this drawing presents a divinely sanctioned act of violence, but filtered through the lens of Renaissance humanism, which placed renewed emphasis on humanity. Do you see any echoes of classical antiquity, or the social functions of art in this particular context? Editor: I notice classical features, like the heroic musculature on display and also that all of the figures look very Caucasian. This is probably something specific to the Renaissance’s relationship to art. But I wonder about this specific story--it isn't nearly as present in the cultural memory, like David versus Goliath, so I’m wondering what led to Raphael’s choice to translate it into art? Curator: Good eye. While perhaps lesser known now, stories of divine intervention were integral to the political and religious landscapes of the Renaissance. Powerful patrons—popes, princes—often commissioned art that subtly legitimized their authority by drawing parallels with figures from the Bible or classical history. Who are these people to want to support the circulation of such stories? Editor: So the selection and display of specific biblical narratives directly reinforce existing social hierarchies... interesting! Curator: Exactly. Art, particularly history painting, served as a powerful tool for shaping public perception and reinforcing dominant ideologies. Editor: Thanks! It’s fascinating to see the social forces embedded in even what appears to be just a historical scene. I’ll look at Renaissance art a bit differently now.