Twee putti omhelzen elkaar 1771

Editor: This is "Twee putti omhelzen elkaar" – or "Two Putti Embracing" – a pen and engraving print by Emmanuel Jean de Ghendt from 1771, currently housed in the Rijksmuseum. The ornate frame immediately catches the eye, almost overwhelming the central image of the putti. What do you make of the image? Curator: Well, putti were common allegorical figures during the Baroque period, representing love, innocence, and often divine intervention. But here, it is more than just sentimental. Ghendt uses an artistic language that’s embedded in social customs and the decorative programs of the era. How might the elaborate framing play into this? Editor: I suppose the frame reinforces the sense of idealized beauty and elevated status of the putti, like they are characters in a performance. It's theatrical almost, which would match Baroque taste. Curator: Precisely. And that presentation, that "theatricality," invites the viewer to engage not just with an image of children, but with an ideal. It's not just a pretty picture; it's about how societal values, channeled through art institutions, shape our perception of childhood, family, and even beauty itself. In this context, where do you see evidence of that within the piece? Editor: I see it in the artifice of the framing! The carefully rendered floral decorations feel a bit forced. Curator: Good eye. These prints circulated widely. Did that accessibility diminish its political weight? Editor: I wouldn’t think so! By making images like this accessible, they became part of the everyday visual language, subtly reinforcing the social norms of the period across society. Curator: Exactly! So, while the image may seem purely decorative, it's crucial to understand its role in the broader visual and cultural landscape of the 18th century. It highlights art's position to shape and reflect social values. Editor: This was really eye-opening! I will not view these cute embracing figures in the same manner again.