Marriage at Cana 1619

Editor: Here we have Andreas Goeding’s “Marriage at Cana,” a pen and ink drawing with watercolor from 1619, currently at the Metropolitan Museum of Art. There's such detail rendered with such fine lines! I’m really drawn to how the artist depicted such a large banquet scene in such a relatively small work on paper. How do you interpret the impact of the medium and its cultural context in this piece? Curator: I see this drawing as evidence of the means and modes of artistic production during the Baroque period. The labor involved in such detailed ink work, especially with watercolor additions, speaks to the workshop practices common at the time. Consider the sourcing of the paper, the ink itself, the processes of creating the colors. Editor: So, you're suggesting we focus on how this was made as a way into the image, rather than only thinking about the story being portrayed? Curator: Precisely. Think about the division of labor required for a print versus a drawing. The printing press democratized images but sacrifices some qualities; drawings often retain uniqueness. This drawing allowed Goeding to directly engage with the story, manipulating and presenting his vision. The social status reflected by a lavish wedding like this – notice the abundance of food and wine. Consider who had access to these kinds of resources and festivities? Editor: That’s a really great point about labor and consumption. Is there a statement about Baroque extravagance that this print might offer by recreating such a luxurious event for a broader audience? Curator: It invites us to consider what values it reinforces or questions. How does access to such imagery influence consumption and desire during this time? The choice of watercolor brings out those qualities more vividly. The materiality connects intimately to how meaning is formed and understood. Editor: I hadn't thought about it that way. Thanks for illuminating the connections between materials, labor, and the art market.