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“When you have money, you want to spend it, and a great way to do so is to buy art for the walls of your new house,” said Chloé M. Pelletier, the curator of “Saints, Sinners, Lovers and Fools: Three Hundred Years of Flemish Masterworks,” an exhibition at the Montreal Museum of Fine Arts running til October 20. The exhibition displays 137 artworks from this period, as well as drawings, sculptures and prints. Its title references archetypes depicted by painters Pieter Bruegel, Peter Paul Rubens and Jacob Jordaens (as well as many others), in addition to showing religious devotion, they painted everyday scenes of life — and everyday vanities.

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bullish pattern emerging on silgo retail limited (silgo) ✌️【Risk Control】✌️ Free real-time market data to help you quickly recover and avoid losses. The scenes of the era were both divine and mundane, from Hans Memling’s luminous nativity scene, circa 1480, to Bruegel’s depiction of an angry wife hauling home her intoxicated husband, circa 1620. A scene or subject’s popularity could prompt 10 or more similar versions — whether of drunk bar brawls or the baby Jesus.

bullish pattern emerging on silgo retail limited (silgo) ✌️【Risk Control】✌️ Real-time global stock, futures, and forex data to help you master market dynamics. As the growing new-monied class chased lighthearted illustrations of the everyday to show off wealth, the growing prominence of the printing machine boosted the circulation of these captivating paintings from collectors’ homes to those of everyday people, and even to the streets. In other words, this new method of mass dissemination made them go viral.

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bullish pattern emerging on silgo retail limited (silgo) ✌️【Risk Control】✌️ Real-time global stock, futures, and forex data to help you quickly assess market trends and achieve stable returns. Art collectors at the time possessed an average of 30 paintings at home, noted Pelletier; a common party pastime during social gatherings was to guess a work’s painter, or whether the maker was the master or an apprentice.

“These were conversation pieces that you could talk in front of and laugh at,” she said. The curator considers the buzz around art stars and chroniclers of new Flemish lifestyle “an early moment of pop culture.”

Engagement in the art world was also an early opportunity for self-branding and promotion. “Elegant Couple in an Art Cabinet,”painted around 1675 by Peeter Neeffs the Younger and Gillis van Tillborch, for example, depicts the subjects surrounded by a towering orchestration of their collection in the heart of a palatial residence — the #richkidsoftherenaissance, perhaps.

“They were interested in showing their best sides to build a self-image,” Pelletier explained of these old-school influencers. On the flip side, however, pious subjects signaled a grounding of the egos in respect for the divine, with “memento mori” details, such as a skull or a Bible quote in Latin, promoting humbleness and awareness of mortality. “They liked to demonstrate their lifestyles, but also wanted to affirm they were virtuous Christians who knew nice clothes and houses faded,” she added.

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But as much as staged glamour or coded banter, false information also spread into public consciousness through viral imagery. Fraudulent narratives about Indigenous people, such as that cannibalism was rife among the Caribbeans, helped to justify colonization of the new world; the exhibition includes artworks depicting this fear-mongering — including Jan van der Straet’s late-16th-century engraving of the Italian explorer Amerigo Vespucci encountering people roasting a human leg — and makes a potent case about the impact of a misinformed image, whether crafted with imperialist strategies then, or now through AI.

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bullish pattern emerging on silgo retail limited (silgo) ✌️【Risk Control】✌️ Free global stock market data to help you plan the best investment strategies and seize market opportunities. The faster spread of images prompted the abundance of knowledge — useful, misleading or silly — similar to the contemporary flux of data that ceaselessly penetrates today into our consciousness. And the art historian Porras sees a clear connection between the era’s artworks and contemporary viral images with malleable readings.

“For us, it’s clear how a viral meme or format can be re-scripted and performed so that it moves so far from its original context as to be unrecognizable,” she said. She makes her case vivid with a familiar example, as opposed to a scene of 400-year old mundane debauchery: “Think of all the riffs on the jealous girlfriend meme, which comes from a standard photo stock collection.”

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