Rust op de vlucht naar Egypte 1584

Editor: We’re looking at Bernardino Passeri’s "Rest on the Flight to Egypt," an engraving from 1584. It depicts Mary, Joseph, and the baby Jesus resting beneath a tree. I'm struck by how the density of the engraving almost creates a sense of tension, even in this supposed moment of respite. How do you interpret this work? Curator: Well, it's important to consider the context. This was created during the Counter-Reformation. Prints like these played a crucial role in disseminating religious imagery. How do you think this particular image functions within that socio-political landscape? Editor: Perhaps it’s meant to offer a simplified, easily reproducible image of devotion for a wider audience? To offer a direct, humanizing view of this iconic scene? Curator: Exactly. Think about the accessibility of prints compared to large-scale paintings in churches. This brings the Holy Family into the domestic sphere. The rest stop itself suggests a temporary public space, reflecting the very vulnerability that defined much of the religious world. Does the presence of the donkey suggest anything about class dynamics? Editor: It definitely brings an interesting element of daily life to this biblical scene, doesn't it? I never considered that. Curator: And notice the somewhat melancholic expressions on the faces of Mary and Joseph. It subtly underscores the precarity and hardships endured during this flight from persecution, and ultimately invites contemplation on larger social injustices. Editor: So it's not just a devotional image, but almost a political one too, given the turbulent times? I now have a fresh perspective to appreciate it. Curator: Precisely! Examining art through a historical lens lets us engage with the complex layers of meaning embedded within seemingly simple scenes.