Maria met Kind en drie engelen 1662 - 1681

Editor: This is "Maria met Kind en drie engelen" by Alexander (II) Voet, created between 1662 and 1681. It's an engraving, currently held at the Rijksmuseum. The scene feels quite tender, with Mary and the Christ child surrounded by adoring angels offering fruit. What can you tell me about this piece? Curator: Well, situated within the Baroque period, we're looking at more than just a religious scene. The abundance of fruit and the fertile imagery speak volumes about societal expectations surrounding women and their roles as life-givers and nurturers. What strikes me is the inscription at the bottom, and its relationship to the rest of the composition. How do you understand it? Editor: I hadn't considered the inscription. It definitely shifts my perspective, makes it more… deliberate? More of a statement than just a pretty image. Curator: Exactly! This piece isn't just about piety, but also about power structures, expectations of female fertility and how women and children are presented as almost extensions of nature and sources of plenty. Look at the composition – how does Mary’s stillness contrast with the cherubs' offering, placing her in the center? It creates a fascinating commentary. Editor: I see what you mean. There's a stillness and strength about Mary, while the angels are very active and almost…performative in their offering of fruit. Curator: Indeed. Consider, too, the use of printmaking as a medium. Prints like these were widely circulated, making these idealized representations of motherhood and abundance accessible to a broad audience and shaping public perception of feminine ideals. Editor: That’s really interesting, to think about how reproductive labour and access could be influenced by artwork like this one. I'll definitely look at Baroque art differently now. Curator: Excellent, considering visual media's potential effect is half the battle when examining such pieces!