De doop van de kamerling door Philippus 1804 - 1805

Editor: This is "The Baptism of the Eunuch by Philip," an engraving by Adam von Bartsch, dating from around 1804-1805. The scene feels very staged, almost theatrical. I am curious, how do you interpret this work, especially given its historical context? Curator: It’s interesting that you pick up on the theatricality. Von Bartsch’s engraving presents an opportunity to dissect the power dynamics inherent in depictions of religious conversion. Consider the figure of the eunuch: as a Black man and a court official of the Queen of Candace, his baptism speaks to the reach of Christianity into different cultures and the co-option of marginalized figures to amplify religious narrative. What does it mean that the first African baptized was an elite, and also castrated? How does this reinforce or subvert notions of both power and submission? Editor: So, the engraving isn’t just a straightforward depiction of a biblical story? Curator: Precisely. The “universal” appeal of Christianity conveniently sidesteps the nuances of colonial power. This historical context can highlight the manipulation and appropriation of indigenous populations throughout colonial history. What do you make of the gazes and positioning of other people surrounding the two central figures? Editor: It appears most onlookers watch intently, but there seems to be a hierarchical distance maintained, based on dress and placement. It almost implies a ranking of acceptance. Curator: Exactly! This seemingly benign religious scene is imbued with tensions surrounding race, class, and gender, reflecting how conversion narratives were used to both erase and assimilate those deemed “other.” Hopefully you'll start recognizing such encoded bias throughout our journey through art. Editor: I definitely will, it opens my eyes to so much I hadn't considered! Thanks so much for this deeper look.