Petrus c. 1622 - 1642

Editor: So this etching, "Petrus," by Andries Both, dates back to somewhere between 1622 and 1642. It’s deceptively simple at first glance, but something about the scale feels really grand for such a small print. What jumps out at you? Curator: Considering Both's context – the Dutch Golden Age – it’s intriguing how he navigates the power dynamics inherent in religious imagery. Think about the role the Catholic Church played at the time, even in a predominantly Protestant environment. Petrus holds the keys, symbols of authority, yet the etching feels…ambiguous. Do you perceive that tension between the man and his attributed power? Editor: Absolutely. He looks almost burdened by the keys, and the figures in the background seem diminished, supplicating almost. Is that typical of Baroque depictions of saints? Curator: That’s a crucial question. The Baroque often used grandeur to impress upon viewers the might of the church or the divine. But Both opts for a more intimate, even humble presentation. It’s interesting how landscape is integrated. Does it feel celebratory, or isolating? Editor: More isolating, I think. The sweeping sky emphasizes the smallness of everyone. And it makes me wonder if there was some veiled commentary on religious authority intended here, or maybe it simply reflects a more humanistic approach? Curator: Precisely. The fact it is an etching is key, as prints at the time had broad public appeal, offering potential for wider dissemination of such subtle, politically charged artistic statements. It prompts you to ask who had access to this and how they would read it. What is your takeaway from seeing the artwork now? Editor: I’m definitely seeing it differently now, understanding the Baroque period better helps see its nuanced power struggles presented here. Curator: Indeed. It's in those historical tensions and reinterpretations that the piece finds new meanings across the ages.