Deurstuk geflankeerd door twee kinderen c. 1628

Curator: This engraving by H. Picart, titled "Deurstuk geflankeerd door twee kinderen" or "Door Piece Flanked by Two Children," dates back to around 1628. What catches your eye first? Editor: The cherubs! They're holding back…what is that, some kind of heraldic…cow skull? The whole thing has this unsettling-sweet vibe. Like something out of a baroque fever dream. Curator: Precisely! Baroque loves to play with contrasts. The cherubs, often symbols of innocence and love, flank this somewhat morbid image. It represents not just a decoration, but a doorway, both physical and perhaps symbolic. Doorways in art signify transitions, new beginnings, and often, deeper allegorical journeys. Editor: A bit on the nose, don't you think? I mean, *door* piece? Although, that little screaming head down below is something. Reminds me of silent film era horror. What’s that doing there? Curator: These grotesques often functioned apotropaically. By depicting something terrifying, you avert the evil it represents. Notice too how this all evokes classicism—idealized bodies, balance—filtered through a Baroque lens. Editor: So, beauty and beast, innocence and… bovine-skulled knowledge? This cow skull definitely says something about mortality, no? Also, is it just me, or does the crispness of the engraving highlight the contrast beautifully? Curator: Exactly. Engravings allowed for wide distribution, meaning these symbols resonated broadly. We find traces of these patterns across culture even today. It’s an example of cultural memory perpetuated by visual forms. Editor: That blend of darkness and light is definitely timeless, I see so many current interpretations today. Well, it's oddly compelling. And that poor screaming head… still trying to figure that one out. Curator: Perhaps its a doorway to understand what frightens you the most. Food for thought!