The Holy Family in Egypt, with Joseph as a carpenter in the background at left 1577 - 1774

Curator: Let's discuss Diana Scultori's engraving, "The Holy Family in Egypt, with Joseph as a carpenter in the background at left," created between 1577 and 1774. Editor: Immediately, I'm drawn to the contrasts in light and shadow, the engraver truly understood how to exploit line to evoke three-dimensionality despite a two-dimensional medium. Curator: Absolutely. Consider the gendered division of labor. Mary is central, nurturing Jesus, while Joseph, almost an afterthought, toils in the background. This speaks to societal expectations, of motherhood as the central occupation. We also note the flight to Egypt as refuge from political violence. Editor: I agree that that composition draws our eye to the figure of Mary as she occupies the forefront, as well as creating depth and distance. But let's observe the precise rendering of drapery, see how the folds both reveal and conceal, how light and shade coalesce upon it! Curator: Yes, but notice also how this seemingly intimate scene is deliberately staged. Mary isn't just a mother; she is the Mother of God, an idealized figure within a patriarchal structure. This print perpetuates a narrative that sanctifies certain roles while obscuring the lived realities of women. How, for instance, is reproductive labour presented in religious iconography? Editor: Indeed. Even within that staging, Scultori has orchestrated our attention across these forms. Note how the strong vertical of the architectural column guides our eyes, setting up the other forms within the composition and balancing vertical of the mature tree. Curator: Thinking about Scultori herself, as one of the few recognized female artists of her time, one is left to question how she situated herself politically, religiously, and creatively to succeed in the art world and society. How does this artwork, a copy after a master, signal her devotion? Editor: What you said is all worth pondering. Now that you mention that, I take a moment to think about the implications this artwork and scene would have on women in religious environments as it exists both literally and conceptually. Thank you for that important reading. Curator: Thank you. Analyzing the visual, ideological, and material strands interwoven within Scultori's work continues to make for great insights.