Flight into Egypt 1663 - 1743

Editor: This engraving, "Flight into Egypt," made sometime between 1663 and 1743, depicts Mary, Joseph, and the infant Jesus escaping to Egypt. It’s attributed to Robert van Audenaerde. What strikes me is how vulnerable they appear, even with this seemingly divinely ordained protection. What can you tell me about its historical context? Curator: It's interesting that you note their vulnerability. Considering the Baroque period’s investment in dramatic narratives, that feeling might be intentional, fostering empathy in the viewer. Consider how this image was circulated. As a print, it’s more accessible than a painting. What impact might this have had on its reception and the spread of the story it tells? Editor: That’s a good point; its accessibility makes it potentially a powerful piece of religious propaganda, doesn’t it? Especially when literacy wasn't as widespread as today. The imagery becomes the message. Curator: Exactly. Prints like these often served as devotional aids, influencing public piety and shaping religious understanding. Notice how Mary is portrayed, almost collapsing under the weight of the child, the depiction of the divine taking on human suffering. Do you see how that contrasts with traditional portrayals of the Madonna? Editor: Yes, usually, we see her regal, enthroned almost. Here, she looks like any mother on the run, trying to protect her child. I'd not thought about art being employed for that kind of manipulation of religious ideas and beliefs, not explicitly. Curator: Precisely. So, thinking about the 'public role' of this 'art', how do you see such imagery fitting within broader societal power structures? Editor: I see it now: religious and political ideologies reinforcing each other. This work is much more than just an image, but a tool to indoctrinate the public. I’ll never see these engravings the same way again.