Kruisiging van Christus 1670

Editor: This is Wenceslaus Hollar's "Crucifixion of Christ," an engraving from 1670 currently housed in the Rijksmuseum. I’m struck by the precision of the lines, especially in rendering the draped clothing. How does this piece resonate with you? Curator: As a materialist, my focus drifts to the actual production of this image. Consider the labor involved in creating such intricate detail on a metal plate using engraving tools. The marks that construct this supposed religious image were produced using industrial skills, reflecting shifts in knowledge. Editor: That's fascinating! I hadn't considered the physical labor so intently. Does the Baroque style of the piece impact the materials or their use? Curator: The Baroque favored complex compositions, which in turn demanded immense skill and time from the engraver. The demand for this piece influenced the engraver. What's the social function of religious imagery in 17th century Netherlands and how does the production process itself—engraving—make these artworks commodities available for wider distribution and consumption, impacting artistic and religious ideas? Editor: So, the Baroque's ornate style directly affected the consumption of time and material? Making it widely available, democratizing access in some ways, yet retaining artistic mastery? Curator: Precisely! Think about the implications for the role of the artist. Is Hollar just a skilled laborer, or is he something more given the demand for him at the time and today. This tension defines much of the early modern art world and capitalism today. Editor: I never really connected religious art with consumption that way before. Thanks for making me consider the engraver's hand in producing the Baroque style! Curator: And thank you for pushing me to further think about the impact that shifts in labor impact our relationship to art and religion.