Herkomst van het heidendom 1768 - 1771

Editor: Here we have Jean Charles Delafosse's print, "Herkomst van het Heidendom" or "Origin of Paganism," made between 1768 and 1771. It’s an engraving, and the whole composition strikes me as quite imposing, like a monument... What's your take on it? Curator: Well, seeing this engraving through a historical lens, it's interesting to consider its cultural and political context. Delafosse was working during a time when Neoclassicism was in vogue, a movement that looked back to the art and culture of ancient Greece and Rome. The depiction of paganism as something ‘originating’ implies a specific narrative – what does that narrative suggest to you? Editor: That paganism has a clear beginning... but I guess I don't really understand *why* that origin matters to Delafosse? Curator: Precisely. In the 18th century, representations of historical origins were often tied to legitimizing contemporary power structures. Delafosse might be subtly commenting on the role of religion in shaping societal norms. Do you see any elements in the composition that reinforce a sense of hierarchy or established order? Editor: Hmm, I see those two statues flanking the central panel. They give the design a real symmetry and create a sense of formal importance, as if paganism is this stable, foundational element of society... or is at least presented that way. Curator: Exactly. And how might a museum, then and now, influence or reinforce such a view of the past through the very act of displaying it? How does an image like this one participate in the politics of imagery? Editor: That’s a good question! I suppose showcasing something like "the origin" suggests that it's both knowable and present, when the historical context and truth may be more complex than we can represent. Curator: It highlights how art can become a tool for constructing and perpetuating ideologies, even when seemingly focused on the distant past. A powerful and uneasy reality that museums also grapple with in their daily operation. Editor: I hadn't considered how the act of presenting a singular "origin" can be a political statement in itself. That’s a very interesting thing to think about when looking at art!