Slapend Christuskind by Bernard Picart

Slapend Christuskind 1710 - 1733

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drawing, engraving

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portrait

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drawing

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toned paper

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light pencil work

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baroque

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pencil sketch

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old engraving style

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sketch book

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personal sketchbook

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pen-ink sketch

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line

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sketchbook drawing

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storyboard and sketchbook work

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sketchbook art

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engraving

Dimensions height 103 mm, width 180 mm

Curator: Here at the Rijksmuseum, we have "Slapend Christuskind," or "Sleeping Christ Child," an engraving by Bernard Picart, likely created between 1710 and 1733. Editor: It's remarkably serene. The delicate lines of the engraving give the figure a soft, almost ethereal quality, yet the baby appears substantial, resting peacefully on what looks like draped linen. Curator: Picart was known for his engravings that circulated widely, impacting the visual culture of his time. Prints like these played a vital role in disseminating religious imagery to a broader audience. Think of them as the mass media of their era. Editor: Absolutely, and consider the labor involved in producing engravings. Each line is etched with precision, a painstaking process to reproduce an image, and, ultimately, make it accessible. This image transforms faith into something more intimate and reproducible. It brings this Christ child to life by giving a face to a divine myth. Curator: Exactly! And not just disseminate it, but interpret it. Picart, as an engraver, shapes the image he’s reproducing. Here, there's a sweetness, a vulnerability. It fits with the evolving representations of Christ in the 18th century. Editor: Yes, but the halo above the baby’s head disrupts that feeling slightly. I think there are some conflicting signifiers here. The soft engraving speaks to comfort and ease, while the halo reminds viewers of what’s to come in this baby’s life. Curator: The tension is part of what makes it powerful. Picart’s piece provides a visual for contemplation that served to encourage certain interpretations of faith, not just passively reflecting beliefs. It played a vital role in shaping it. Editor: It definitely challenges assumptions about what images mean, where they come from, and how labor affects art history. I will be thinking about that for a long time! Curator: As will I. Seeing the artwork and then researching its social impacts reminds me how much meaning resides in the exchange and reception of these artworks.

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