Titelprent met Romulus en Remus gezoogd door de wolvin 1625 - 1669

Editor: Here we have Giovanni Battista Galestruzzi's "Titelprent met Romulus en Remus gezoogd door de wolvin", an engraving dating back to the mid-17th century. The crisp lines and details give it a fascinating quality. What’s your interpretation of the scene and how it reflects the period in which it was made? Curator: This image speaks volumes about the use of classical mythology to legitimize power. Consider that the story of Romulus and Remus, suckled by a she-wolf, isn't just a charming fable, but foundational to Roman identity and claims to authority. Editor: So, you’re saying that choosing this particular scene for a print like this was a political statement? Curator: Absolutely. Think about the social function of art at the time. Prints like these circulated widely, bringing these powerful visual narratives into homes and public spaces. How do you see the landscape fitting into that narrative? Editor: Well, the wild, somewhat untamed landscape behind them emphasizes their abandonment and miraculous survival, hinting at divine favor, I suppose? Curator: Precisely. And notice the oak tree, a symbol of strength and endurance, rooted where the she-wolf rears the children. These visual elements worked to establish a direct line between the grandeur of Rome and the virtues that a society might aspire to. It serves as an origin myth meant to shape civic identity. What are your thoughts now? Editor: I see it now, the piece serves not just as an illustration of a myth, but as propaganda meant to reinforce specific cultural values and concepts of authority. Thank you, this conversation definitely enhanced my perspective. Curator: Agreed. It's fascinating to uncover how historical context influences art's meaning and its role in society.