The Virgin holding the infant Christ, after Reni 1595 - 1645

Curator: Immediately, I’m struck by the light, how it radiates out from the Madonna. Editor: Here we have an engraving titled "The Virgin holding the infant Christ, after Reni." It was created sometime between 1595 and 1645 and resides at the Metropolitan Museum of Art. The piece draws heavily from Italian Renaissance sensibilities. Curator: Right, you can certainly see that stylistic influence. But what arrests me is the delicate, almost melancholic mood. The Virgin’s downward gaze and the Christ Child’s serene expression... it’s remarkably tender. Editor: Considering the historical context of the Madonna and Child as a recurring, powerful motif in religious and political iconography, that tenderness carries a lot of weight. This was more than just a devotional image; it reinforced doctrines, social structures, and ideas about motherhood itself. Curator: And notice the skillful use of line to define form and volume. Look at the drapery, the way it cascades and folds, creating a sense of depth. Editor: Absolutely. Intaglio printmaking in that period also served the purpose of disseminating images widely and influencing art making in diverse places, but here it creates intimacy. What I find really fascinating is the engraving's circulation among different publics at the time. Who owned this imagery and for what purposes? Curator: Good question. For me, this work showcases an intimate human connection represented by line and shape. Editor: It's been helpful to look at "The Virgin holding the infant Christ, after Reni" with you. Curator: Likewise. Seeing the technical expertise and broader social significance helps to reveal hidden layers within it.