Vlucht naar Egypte met engelen 1671 - 1709

Editor: Here we have an engraving from between 1671 and 1709, titled "Flight into Egypt with Angels," housed in the Rijksmuseum, made by an anonymous artist. It strikes me as quite formal, with a definite emphasis on classical figure drawing. How would you interpret this work? Curator: Well, considering this print through a materialist lens, I'm drawn to the process of its creation. Engravings such as this served a crucial role in disseminating images and ideas across Europe. Think about the labour involved. Also consider how these materials and techniques affect consumption, how readily they allow images to enter homes or serve as templates for larger works. It almost flattens traditional boundaries between the fine arts and, say, book illustration. Does that affect your view of its formality? Editor: That's a good point; I was mainly seeing the echoes of Renaissance figure painting, but its existence as a *print* meant its availability changed how art was viewed. Were prints like this always considered secondary to paintings? Curator: That is what is implied. By questioning the materials of an image, it challenges the hierarchies of labor in the visual arts. If, as engravers, some artists’ output would serve only to benefit other creators, it calls into question the actual relationship to a ‘fine art’ status, especially within an era concerned about status. Look also at how cheap paper would contribute to more ‘common’ art among the merchant class and, eventually, others. And who consumed prints of "Flights into Egypt?" Why would this scene be particularly appealing? Editor: Perhaps a narrative everyone could understand... a mother fleeing with her child. Thank you for helping me consider its materials! I'll certainly be giving prints like this more thought in the future. Curator: And I'll look more deeply into those potential ties.