Judith and maidservant with the head of Holofernes, set within an elaborate frame 1535 - 1585

Curator: This engraving, "Judith and maidservant with the head of Holofernes, set within an elaborate frame," was created by Battista Angolo del Moro sometime between 1535 and 1585. The incredibly fine lines create a rather unsettling narrative, especially contrasted by the decorative elements of the frame. How does it strike you? Editor: The level of detail is impressive for what I imagine must be a pretty small print. It seems like so much labor went into this. I'm curious, what draws your attention when you look at this piece? Curator: Immediately, I consider the materiality of this print. Look at the process – the physical act of engraving those lines, the labor involved in the printing itself, the distribution of these images as a form of cultural capital. We are consuming the product of someone's intense labor and skill. Does the contrast between the violent biblical scene and the ornamentation interest you? Editor: Absolutely, the frame feels so detached from the central narrative, doesn't it? I suppose it's meant to elevate it, but... Curator: Or, is it to commodify it? These prints were objects traded and sold. Consider the historical context. Were they for private devotion, political commentary, or merely decorative? The frame becomes part of the object's appeal, increasing its marketability. Can you see how the contrast between the "high art" subject matter of religious history and the “low art” craft of printmaking starts to break down under that sort of analysis? Editor: That’s a really interesting point. It blurs those boundaries, certainly. So, the frame isn’t just decorative but almost a… sales tactic? A means of elevating the work within the context of the art market? Curator: Precisely. And think of the consumption involved – who bought this, how was it displayed, how did it circulate within society? Editor: It’s fascinating to consider art as a product of labor and consumption. I guess I usually get caught up in symbolism and forget about the hands that made it. Curator: And the systems within which those hands operate. Hopefully, you will always bring with you the question: Who benefits from this being made?