Landschap met herders en vee bij huis 1650 - 1695

Editor: Here we have Nicolas Perelle’s, "Landschap met herders en vee bij huis," made sometime between 1650 and 1695. It’s a print, using the etching technique. The circular composition, like a porthole, really draws me in. What strikes you about it? Curator: As a materialist, I find myself drawn to the ‘how’ of this image. Etching, unlike engraving, relies on acid to bite into the metal plate. Consider the labour involved: preparing the plate, coating it with wax, carefully scratching the design to expose the metal, and then the immersion in acid. Editor: That sounds really involved. How does the process affect our interpretation? Curator: It brings to light the accessibility, or lack thereof, to art making. Was Perelle involved in every stage, or did assistants prepare materials? Furthermore, how does the creation of multiples influence perceptions of value, contrasting with unique, "high art" paintings? This wasn't simply a reflection of nature, but a consciously manufactured image disseminated for consumption. What about the role of patronage in financing material and workshops at the time? Editor: I see what you mean. Knowing about the production process challenges the idea of the artist as a solitary genius, inspired by a pastoral landscape. Curator: Precisely. Instead, we see a complex interplay of labor, skill, and market forces shaping both the image and its reception. Editor: Thanks, this has totally shifted how I’m going to think about prints from now on. It makes you appreciate the image not just as an image but as the end-product of physical toil. Curator: Exactly! Looking through the lens of material production adds depth and helps us question the value we place on different forms of art.