Maria verschijnt aan de heilige Ildefonsus van Toledo 1847 - 1889

Editor: Here we have "Maria Appears to Saint Ildefonsus of Toledo," an engraving by William Unger, made sometime between 1847 and 1889. It depicts a scene of supposed divine intervention, but the overall impression to me is quite formal, almost theatrical. What do you see in this print, considering its place in art history? Curator: From a historical perspective, engravings like this served a vital role in disseminating artistic ideas and narratives. Before photography became widespread, prints like these allowed for the reproduction and distribution of images of important paintings to a wider audience. Note how the format is almost like a triptych, guiding the eye through a religious narrative meant for public edification. Do you think the intended audience was meant to feel included, or feel separate from the miraculous event? Editor: I imagine rather separate. It's like looking into a play – you witness it, but you're not part of it. This print, being reproducible, allowed the wealthy and middle class to appreciate and celebrate images sanctioned and legitimized by those in political power. Curator: Precisely. Consider the implications of making a "miracle" available to private owners in print, ready for wall display. This changed the artwork’s context in terms of viewership, and consequently in purpose, compared to it having been installed in a cathedral. What does that shift say about power structures and their engagement with the general public? Editor: I never thought about prints this way! The shift you point out changes it from a purely devotional tool to something used to communicate cultural values. I wonder what Unger thought about this tension himself… Curator: Indeed, and Unger, as the printmaker, takes on an interpretative role by choosing the style, the focus, and essentially mediating how the original painting, and ultimately the "miracle," is viewed by subsequent generations. The politics of imagery, indeed.