Begrafenisstoet van aartshertog Albrecht (plaat L), 1622 1623

Editor: Here we have Cornelis Galle I's "Funeral Procession of Archduke Albert," made in 1623. It's an engraving printed on paper, depicting what seems like a solemn gathering of nobles. I’m struck by the rigid lines and almost industrial feel to the production of this print, allowing for wide distribution. How should we interpret the piece, especially focusing on the production aspect? Curator: Considering it as a materialist object, it’s key to remember printmaking was an industry. Look at the labour invested in the design and engraving of this plate, repeated for potentially hundreds or thousands of impressions. It transformed an event of aristocratic mourning into a commodity available to a broader public. Editor: So, beyond being a commemoration, it's also a product for consumption? Did the subject, the Archduke’s funeral, lend prestige to the print itself? Curator: Absolutely. Think about the raw materials: the paper, the ink, the copperplate. Then consider the social conditions allowing Galle to profit from memorializing the elite. The value isn't just aesthetic, it's tied to class, power, and the circulation of imagery as propaganda. Each print becomes a tangible representation of societal power dynamics and the Archduke's cultural footprint, manufactured for consumption. Editor: It is strange to think of grief being manufactured for profit, but I now understand the power this print held as something both commemorative and as an article of distribution and wealth. Curator: Precisely! It urges us to consider who benefits from this type of manufactured image, and what systems of labour create it.