Maria Magdalena ten halven lijve met crucifix c. 1520 - 1540

Editor: Here we have "Maria Magdalena ten halven lijve met crucifix," a print made sometime between 1520 and 1540 by the artist Monogrammist AC. It's a striking portrait. What details stand out to you? Curator: Well, I'm immediately drawn to the materiality of this engraving. Consider the labor involved in its production. The precise hand of the engraver painstakingly etched lines into a metal plate. Each mark is deliberate, forming an image for mass consumption. What impact would it have had, considering the Reformation battles of the 16th century, and how does the choice of Mary Magdalene as the subject function within that context? Editor: That's a great point. The engraving would've been quite reproducible. The figure of Mary Magdalene holding the crucifix could've been reproduced, bought, and sold widely. But if you didn't know that background, what would that mean to the common viewer? Curator: It is intriguing how readily accessible she is represented here. Prints like this democratized religious imagery, making it accessible beyond the elite. And notice her gaze—it isn't directed towards heaven, or inward, but towards the viewer. Do you think the engraver's mark could tell us more? Editor: You mean the artist's initials? Could that provide further insights? Curator: Precisely. Whose labour is this? How does anonymity and the means of distribution challenge traditional art historical narratives around authorship and the artist genius? Editor: That is a good question. Thinking about who produced it and what material conditions influenced the work provides an enriching insight into the artistic production, and it definitely challenges our conception of a work's cultural and religious significance. Curator: Agreed! Approaching this print through a materialist lens has hopefully shed new light on its artistic intentions and the cultural implications of artistic labor.