Christus raakt zijn bruid aan 1590

Editor: This is "Christus raakt zijn bruid aan," or "Christ Touches His Bride," an engraving by Johann Sadeler I from 1590, held here at the Rijksmuseum. It has such an interesting, theatrical feel! The bride seems very stoic amid all this activity. What do you see in this piece? Curator: I see a complex staging of power and devotion in this Baroque print. Note the architecture, split into foreground and background - suggesting two different locations with the column as a false divider. On the left the bride is given away while Christ prepares for self sacrifice for his people. Given the Counter-Reformation context of the period, how might this relate to the power struggles between religious and political spheres at that time? Editor: That’s a really interesting way to think about it. I hadn’t considered it as two locations, but rather just depth of field. And this piece produced just before the Dutch Revolt! Curator: Exactly. Now, consider the positioning of the figures. What does the power dynamic suggest about established and perhaps destabilizing notions of gender, class and societal structures of that era? Notice who has proximity to who, who touches who, and who presides over these moments. Editor: Okay, I see that those of the higher class are elevated on the dias. And while the women are close together they are not interacting much with the Bride who has a direct relationship to God himself through Jesus! Wow! I guess I’m not looking just at pretty people in this piece. It definitely represents the tension of the day. Thank you! Curator: Precisely. Art from this period isn't merely decorative; it's a complex tapestry of political and social messaging. Reflecting on this interplay really enriches our viewing experience. Editor: Definitely given me a whole new framework. I’ll be looking at art through a different lens now.