Scène uit La Gerusalemme Liberata 1745

Editor: This is "Scène uit La Gerusalemme Liberata" made in 1745 by Martin Schedel, an engraving on paper. I'm struck by the framing—that ornate border—and I'm curious how that affects our reading of the central image. What do you make of the print as a whole? Curator: The print's materiality and mode of production are particularly interesting here. Engravings, by their nature, are reproducible. Consider the labor involved in creating the initial image and the subsequent distribution of copies. How does that impact the value we assign to this 'artwork'? Editor: So, the act of making copies democratizes the image, but potentially devalues it too? Curator: Precisely! And look closely at the scene itself. This isn't just a depiction of heroism; it's a commercial product designed for a specific audience. Notice the name and title incorporated into the ornamental lower frame. It’s personalized for "La Sig. Paolina Contarini." This shifts our understanding, doesn't it? The heroic scene becomes a symbol of personal prestige and patronage, made accessible to those with wealth through printed duplication. Editor: I see, it’s both an artistic representation of heroism and a signifier of social status facilitated by the printing process. The labour isn't just artistic skill; it's tied to commercial production and social power. It kind of shifts what we focus on when looking at the work. Curator: Exactly. It reveals the economic and social systems at play in the creation and consumption of art during this period, challenging the traditional boundaries between high art and commercial craft. It begs the question, is its artistic intent inseparable from it being a token for the wealthy? Editor: I hadn't thought about it that way, I’m glad to look at it in a new light. Thanks!