The Resurrection (one of seven) 1530 - 1565

Editor: Here we have Jean Pénicaud II’s *The Resurrection*, created sometime between 1530 and 1565, rendered in tempera. The stark monochromatic palette gives the scene a very dramatic feel. What strikes you most about this miniature? Curator: What grabs my attention is how Pénicaud uses the traditional narrative of the Resurrection to speak to broader themes of power and social upheaval. Think about the historical context: the Reformation is in full swing. How might this depiction of Christ’s triumph over death be interpreted as a challenge to established authority? Editor: So you’re suggesting that this isn’t just a straightforward religious image? Curator: Precisely! Look at the figures around Christ. They're not simply witnessing a miracle; they're being confronted by a new order. And consider the material – enamel – often associated with luxury and the elite. What does it mean to depict such a revolutionary moment in such an opulent medium? Editor: It’s like the artist is using the language of the elite to perhaps undermine their authority. The figures look agitated, even afraid, not necessarily in awe of Christ. Curator: Exactly. It’s a fascinating tension. And this tension between the material, the image, and the historical moment opens a space for questioning. Do you think this is challenging traditional roles and societal expectations? Editor: It’s not something I would have considered at first glance, but now I see how it subtly reframes the Resurrection story as a call for change. It's been really insightful to discuss how art interacts with political and social themes. Curator: And it's been enlightening to see how a fresh perspective can uncover hidden layers of meaning.