Landscape with the Rest on the Flight into Egypt 1645

Editor: We’re looking at "Landscape with the Rest on the Flight into Egypt" created around 1645 by Claude Lorrain. It’s a watercolor and drawing piece held here at the Metropolitan Museum of Art. It feels serene, almost dreamlike, because of its muted colors. What stands out to you about it? Curator: I am struck by how this drawing, while depicting a religious subject, also participates in the evolving idea of landscape painting in the 17th century. The figures of the Holy Family are present, yes, but they are quite small compared to the vastness of the scene around them. Lorrain, like many artists of his time, was grappling with questions about the role of the artist, the relationship between humanity and nature, and the function of imagery within a rapidly changing European society. How do you think the landscape serves a political function? Editor: Political function? That’s an interesting angle I hadn’t considered! Maybe the glorification of the land itself served to subtly reinforce national pride or demonstrate dominion over territory? Curator: Precisely. And who commissions and displays these kinds of images matters. Landscapes often reflected the tastes of wealthy patrons. They asserted not just an appreciation for nature, but also a control over it – reflecting social hierarchies and power structures within Europe. Is there a particular detail that highlights class and wealth here? Editor: I’d say the well-maintained city in the background juxtaposed against the traveling family’s "rest stop." I can see how landscape art isn’t just about pretty scenery. Curator: Exactly. It reflects broader social, cultural, and political currents. Recognizing this connection enables a richer understanding. Editor: I’ll never look at landscapes the same way again. Thanks for opening my eyes to the context and power dynamics embedded in this scene.