Engel verschijnt voor de drie Maria's bij het lege graf 1590 - 1622

Editor: So, here we have a rather striking engraving from between 1590 and 1622, attributed to Boëtius Adamsz. Bolswert. It’s titled "Engel verschijnt voor de drie Maria's bij het lege graf," which I think translates to "An Angel Appears to the Three Marys at the Empty Tomb." There’s so much drama in this relatively small print. What stands out to you the most? Curator: Well, for me, it's how Bolswert has captured the sheer chaos of the moment. The contrast between the serene angel bathed in divine light and the discombobulated, almost comical, Roman guards is just brilliant. It feels like a stage play frozen in time, wouldn't you say? And notice the text accompanying the image—little annotations giving us chapter and verse, like subtitles in a silent movie! Editor: Yes! The guards are practically cartoons! But what about the women? They seem… oddly calm considering all the commotion. Curator: Ah, that's where the Baroque style really shines through. The exaggerated reactions of the guards highlight the miraculous nature of the event. The Marys are our focus; they represent faith and quiet reverence amidst the spectacle. Bolswert is asking us, “Where do *you* find yourself in this scene?” Are we among the terrified guards, or the faithful witnesses? Editor: I see. It’s like a mirror reflecting our own reactions to the unknown. A pretty profound idea captured in a small print! Curator: Exactly! And remember, prints like this were widely circulated, bringing these biblical scenes into everyday homes. It's not just a work of art; it’s a tool for contemplation, inviting us to wrestle with faith, doubt, and the power of belief. Editor: That's a powerful thought. Thanks, I’ll definitely look at it differently now. Curator: My pleasure. Sometimes the greatest dramas are found in the smallest details.