The Virgin and Child with Saint Conrad and Saint Pelagius 1504

Editor: So, we’re looking at “The Virgin and Child with Saint Conrad and Saint Pelagius,” a woodcut made in 1504 by Jörg Breu the Elder. The scene feels formal, reverent. How would you interpret this piece within its historical context? Curator: It's fascinating to consider the public role of prints like this in the early 16th century. Religious imagery was, of course, widespread. However, the choice of saints and the presence of that rather prominent coat-of-arms suggests a specific patron or location. I'd want to investigate the historical significance of Saint Conrad and Saint Pelagius in relation to Augsburg, where Breu was active. Whose patronage is this image performing for? The distribution of printed images was as much a political as a spiritual act. Editor: That makes sense. It shifts my focus from simply admiring the artwork to thinking about how it functioned within society. Is it suggesting the Church or some elite patron influenced art at the time? Curator: Absolutely. These images reinforced power structures and projected desired social values. Think about it - every detail, from the opulent robes to the haloed figures, conveyed messages of authority and divine right. Also, this print may be the surviving vestige of other projects in different mediums – panel paintings, frescos, and architecture for the glorification of those values and that patronage. What kind of cultural impact were images of Virgin Mary having at the time? Editor: I see. So it's not just a devotional image but a carefully constructed statement reflecting the artist's relationship to both the Church and secular powers. Thank you, I will remember to think about social function and power dynamics of works. Curator: Precisely!