Heilige Catharina van Siena met crucifix 1623 - 1660

Editor: We’re looking at "Heilige Catharina van Siena met crucifix," a print from between 1623 and 1660 by Pieter de Bailliu, housed here at the Rijksmuseum. It’s rendered in that incredibly detailed engraving style. The subject, Saint Catherine of Siena, emanates a quiet strength, almost severity, and yet is framed by a radiant halo. How does its context influence its public message? Curator: This piece offers a glimpse into the intersection of religious and political imagery of the Baroque period. The print functions as a dissemination tool, creating accessible and reproducible devotional images, and it’s critical to ask: who was this print intended for, and what message were they meant to receive? Editor: The masses, perhaps? The accessibility makes me think of widespread messaging… Curator: Exactly. Consider how the image of Saint Catherine is being presented here, her iconic attributes like the crucifix and lilies, but also the crown of thorns. She stands as an intercessor, but also as a symbol of obedience and suffering – potent messaging, considering the social and political turmoil of the 17th century. Who benefits from these kinds of images being circulated? Editor: That's a chillingly relevant question. Thinking about how images shape public perception makes you consider whose story is really being told and why. It highlights the manipulative power of images during the Baroque era and reminds us to think critically about the purpose of visual representations even today. Curator: Indeed, these kinds of portraits weren’t simply depictions. They functioned within complex socio-political and religious networks. Understanding how these images operated allows us to better understand that era. Editor: I see what you mean. I’m left questioning who *uses* images and how they frame narratives in the process. Thank you for offering a different viewpoint.