Tordenskjold 1786

Editor: So, this is "Tordenskjold," an engraving from 1786 by Georg Christian Schule. The detail is incredible for a print. What immediately strikes me is the action—it's very dynamic, but also quite brutal. What can you tell me about it? Curator: From a materialist perspective, the engraving process itself is key here. Consider the labor involved: the skilled artisan meticulously carving into a metal plate, controlling the burin to create these fine lines, ultimately mass producing this image. The image isn't just an artistic statement, it is a commodity made via reproducible material processes. Editor: That makes sense. How does that mass production change its meaning? Curator: It allows wider access to the depicted scene. The engraving process allows the story to disseminate among a broader audience, beyond the elite, potentially shaping public perception of figures like Tordenskjold. The lines of the print appear dense and intricate to emphasize details. How do you see that affecting the narrative, thinking about production capabilities in 1786? Editor: Well, maybe the density amplifies the drama... like, the engraver intentionally packed detail into every space they had on the copper? As if their craft was on display as much as the content. Also, it kind of immortalizes the scene as it could be copied infinitely? Curator: Precisely. It highlights the power of the print medium in constructing historical narratives. By examining the material conditions of its production and consumption, we move past solely admiring artistic genius to understand how images like these were deployed to construct and disseminate particular ideas. Editor: Right. I’m starting to think about how an oil painting of the same scene might serve an entirely different purpose, within a specific, smaller elite audience. Curator: Exactly. Now, consider the consumption of these prints and what stories about national heroes were being circulated. The making of the artwork provides only a facet of understanding. Editor: This has given me a completely new angle on thinking about prints as historical objects rather than just artistic ones. Thanks.