Mozes 1602

Editor: This engraving from 1602, Jacob Matham's "Mozes," portrays Moses seated, holding a staff and the tablets of law. I'm struck by how...stately and commanding he appears, but the monochromatic presentation lends it a rather austere atmosphere. How should we interpret this work through its historical context? Curator: It's crucial to recognize how images of religious figures like Moses operated in the 17th century. Matham, by visually aligning Moses with the authority and gravitas associated with Baroque portraiture, invites viewers to not simply see a biblical figure, but also to engage with notions of religious law, political authority, and the societal frameworks that supported it. The print’s dissemination also indicates the socio-political networks supporting and consuming such imagery. Who do you think was the intended audience for prints like this? Editor: Educated elites, perhaps? People who appreciated history and art, and who may have even felt it a privilege to display powerful images of Moses. Curator: Precisely. And what does it say about the institutions that would collect or commission art like this? Consider the power structures implicitly endorsed when Moses, holding the law, is elevated in this way through print culture. This image plays a role in shaping perceptions of not only religious but secular leadership. Editor: It’s interesting how Matham’s artwork contributed to the narrative power of religious and legal authority. It seems these kinds of pieces were less about the Bible itself, and more about solidifying societal norms and class structures. Curator: Exactly. These works visually reinforce certain political viewpoints during their time. By understanding that context, we can begin to analyze the image as an artifact of power and ideology, and that enriches our perception today. Editor: Thanks! It's helpful to understand the art as being influenced and as also influencing society at the time. I'll definitely look at older works in new ways now!