Where can I see The Mocking Children Cursed by Elijah and Eaten by a She-Bear?

The Mocking Children Cursed by Elijah and Eaten by a She-Bear is held by National Gallery of Art.

What movement is The Mocking Children Cursed by Elijah and Eaten by a She-Bear?

The Mocking Children Cursed by Elijah and Eaten by a She-Bear is associated with Renaissance.

Artwork

The Mocking Children Cursed by Elijah and Eaten by a She-Bear

The Mocking Children Cursed by Elijah and Eaten by a She-Bear is an ink print by the Renaissance artist Adriaen Collaert. It dates from 1584 and is held in the collection of the National Gallery of Art.

About this work

Overview

The Mocking Children Cursed by Elijah and Eaten by a She-Bear is a 16th-century engraving on laid paper, attributed to Adriaen Collaert and dated circa 1584. It is part of the collection at the National Gallery of Art in Washington.

Subject & Meaning

The engraving depicts a dramatic scene from biblical lore, where Elijah curses mocking children, who are subsequently attacked by a she-bear. The central figures—a man (likely Elijah) and two children—convey tension, with the man gesturing accusatorily towards the youngsters, set against a foreboding wild forest backdrop.

Technique & Style

Executed in engraving, the piece showcases intricate detailing, notably in its densely populated border, which features an array of flora, fauna (including birds and fish), effectively creating a 'frame within a frame'. This ornate border contrasts with the stark, tense central scene.

History & Provenance

Created around 1584 by Adriaen Collaert, the engraving is now housed at the National Gallery of Art in Washington, though specific details of its provenance prior to its current location are not provided.

Context

This work reflects the religious and artistic themes prevalent in 16th-century European art, where biblical narratives were commonly illustrated through various mediums, including engraving, which facilitated widespread dissemination of religious stories.

Legacy

While specific influence or notable exhibitions of this piece are not highlighted, as an engraving from the late 16th century, it contributes to the broader historical record of religious art and the evolution of engraving techniques during this period.