Madonna met Kind en Johannes de Doper 1618 - 1655

Editor: This is "Madonna met Kind en Johannes de Doper" by Cornelis Schut, made sometime between 1618 and 1655. It's a pen and ink drawing, and also an engraving. It feels both intimate and… a little unsettling to me, perhaps because of the hatching. How do you interpret this work? Curator: Well, let’s unpack that "unsettling" feeling. The Baroque period, while embracing drama, often intertwined religious fervor with political messaging. Think about the intense religious conflicts of the time, the Counter-Reformation...does the presence of John the Baptist as a child, foreshadowing Christ's destiny, hint at sacrifice, a commentary on power and innocence? What do you notice about Mary’s gaze? Editor: She seems almost mournful, or perhaps resigned? Like she already knows what's going to happen. And John is holding a cross, that certainly anticipates Christ's death. Curator: Exactly. Schut is using these familiar religious figures to potentially critique the societal structures that demand such sacrifice. The print could be interpreted as a call for empathy, perhaps even resistance, against oppressive forces disguised as divine will. Consider how the image might have been viewed within different social strata. Would its message resonate differently with those in positions of power versus those who are marginalized? Editor: That's a perspective I hadn't considered. So, beyond just a religious image, it could be read as a commentary on power and the cost of faith within a turbulent social context? Curator: Precisely. It encourages us to question not just the narrative, but who benefits from its perpetuation, then and now. Editor: I see it differently now! It’s not just a historical religious scene; it’s an active engagement with complex societal themes. Thanks!