Geschiedenis van de kleine Aschpoester / Histoire de la petite Cendrillon 1800 - 1833

Editor: So, here we have Philippus Jacobus Brepols's "Geschiedenis van de kleine Aschpoester / Histoire de la petite Cendrillon," created sometime between 1800 and 1833. It’s a print, with etching and engraving. It feels like a comic strip telling the Cinderella story. What stands out to you? Curator: What I find compelling is how this piece reframes Cinderella within the context of print culture. Consider the potential audience – was it primarily children, or were there other social or political messages being subtly encoded for adults too? What statements might Brepols be making regarding the power dynamics inherent in stories circulated within society? Editor: That's an interesting point about power dynamics. I mostly focused on the visual narrative. Curator: And the visual narrative is crucial. Look at how Cinderella is portrayed across these scenes. Are there visual cues suggesting class or gender roles? Notice how clothing, posture, and the activities depicted in each frame might reinforce or challenge prevailing societal norms of the period. Editor: I see what you mean. She’s always depicted in subservient roles, even when transformed for the ball, her beauty is serving the power structures. Does the medium itself—printmaking—play into the reading? Curator: Absolutely! Print was a widely accessible medium, allowing for dissemination of ideas and stories to a broad audience. Considering the context of Romanticism, how might Brepols be using this accessible format to either reinforce traditional societal structures or to plant seeds of subtle dissent, perhaps even inspire viewers to question their own social standing? Editor: That gives me a whole new perspective on what might seem like a simple fairytale illustration. Thank you! Curator: It is a pleasure to engage with such layered and historically relevant artwork. I have certainly found new nuances in our dialogue.