Mozes, Christus en portret Maarten Luther 1648

Editor: Here we have Frans Brun’s “Moses, Christ, and Portrait of Martin Luther,” made in 1648. It’s a detailed engraving with a lot going on; I find it kind of overwhelming. How do you interpret this work? Curator: At first glance, it presents itself as a straightforward religious image, yet, a closer look reveals a rich layering of cultural memory. Note how Moses and Christ flank a central inscription: the Bible, retranslated by Luther. Can you sense the visual tension? Editor: A little, I think. It feels like three different ideas mashed together. Curator: Precisely! The artist seems to be building an argument, visually. Consider the placement of Luther's portrait. He's framed by angels, mediating between the Old Testament represented by Moses and the New Testament, embodying Christ. How does this placement shape your understanding? Editor: It puts Luther in a very important position… almost like a saint himself. Is it meant to give Luther authority? Curator: Indeed. It suggests Luther is the bridge, the interpreter connecting these traditions for a new audience. And what about the swan image at the top, or the lamb above the open bible? Editor: Hmm…The swan could be about purity, and the lamb...sacrifice? I'm not sure, I hadn't even noticed the swan. Curator: These are key symbols linking back to specific doctrines within Lutheranism. This engraving wasn't merely decorative. It served to reinforce religious identity. A powerful image, speaking volumes through its dense symbolic language. Editor: That's really fascinating. I would have just seen this as a religious engraving, but now I realize how much more is actually being communicated. Thanks!