Engeltjes met dood kind 1741 - 1820

Curator: Ah, "Engeltjes met dood kind," or "Angels with a Dead Child," an engraving dating from around 1741 to 1820. It resides here at the Rijksmuseum. Abraham Delfos created it, and the tonality is striking in its stark, clean appearance. Editor: Clean indeed. The subject matter is incredibly poignant and emotionally arresting. The monochromatic rendering really brings the baroque composition's morbidity to the fore. Curator: Baroque sensibilities often found beauty in extremes, even in mourning. Consider how the angels, traditionally symbols of hope and divine intervention, cradle the child—are they escorting the spirit to paradise, or lamenting a loss? Editor: It makes me think of the physical process, you know? The meticulous labor of carving those lines, the decisions in applying the ink, wiping the plate—all to achieve this ephemeral vision of angels and a child. It contrasts sharply with the gravity of the piece. Curator: Certainly, it's thought provoking. Angels are typically understood as intercessors; their youthful innocence adds another layer. Perhaps the engraver, Abraham Delfos, was hoping to elicit our empathy. The circular wreath—a traditional symbol of grief—held by one of them only deepens that somber tone. Editor: You can sense the physical engagement with the copper plate, with acid, producing countless prints for popular consumption. Imagine its proliferation; how many hands held this image, in how many homes did it trigger this sense of collective loss and spiritual longing? Curator: It is the power of visual language to convey complex emotions across time. Through this visual language and imagery, these symbols give viewers access to powerful emotions associated with life cycles. Editor: It's interesting to see how this artwork creates conversation between materiality and the emotional experience. These Baroque sensibilities seem intertwined with the means of production that make art accessible for many generations.