Bestemming van de Maagd Maria after 1590

This print, whose artist is unknown, depicts the 'Destination of the Virgin Mary', and is now held at the Rijksmuseum. Prints like this one circulated widely in Europe, especially during the Counter-Reformation. The immaculate figure of the Virgin is surrounded by cherubic angels, bathed in divine light. This imagery was meant to reinforce Catholic doctrine. The emphasis on Mary's purity and her role as intercessor was a direct response to Protestant criticisms. The Latin inscription, "Tota pulchra es, amica mea, et macula non est in te" – "Thou art all fair, my love; there is no spot in thee" – further reinforces this ideal. Produced in a context of religious and political conflict, this print is not merely a devotional image. It is a visual argument, a carefully constructed piece of propaganda meant to shore up the authority of the Church. By studying the history of printmaking and religious movements, we can better understand how images like this functioned within the broader social and political landscape of their time. The meaning of art is always contingent on its context.