Enthauptung Johannes des Täufers c. 1755

Editor: This is Januarius Zick's "Enthauptung Johannes des Täufers," or "Beheading of John the Baptist," a drawing made around 1755 with ink and gouache on paper. It's rather grim, naturally. All the figures seem caught in this terrible moment. What do you see in terms of its history? Curator: The image, steeped in the visual language of the Baroque, reflects a recurring fascination within religious and political spheres with power, sacrifice, and martyrdom. It depicts a specific biblical narrative but it also speaks to broader concerns regarding authority and its often brutal exercise. The use of the grisaille technique—executed solely in shades of gray—invokes a somber mood appropriate to the subject. What kind of a public impact would art such as this have during the 18th century? Editor: I guess in a society where religion was much more central to everyday life, it would be a potent reminder of religious and moral expectations, or maybe warnings. Do you think that explains its popularity at the time? Curator: Exactly. Religious works like this, particularly those displayed in public spaces like churches or even reproduced as prints, served as visual tools for moral instruction, reinforcing social norms and power structures. The graphic nature of the beheading forces the viewer to confront uncomfortable truths about justice, faith, and obedience, further emphasizing the didactic function. And the patron of the piece, as well as the display context, shapes how these ideas are presented. How might its message change in a different time? Editor: That’s interesting to consider. Nowadays, in a museum, it’s more of a historical artifact and the message is somewhat diminished but allows us to look back critically at that time. Thanks, that clarifies a lot! Curator: And seeing it this way encourages questions, making art from the past relevant today.