Landschap met Christus die als tuinman verschijnt aan Maria Magdalena (Noli me tangere) Possibly 1777

Richard Earlom made this print, Landschap met Christus die als tuinman verschijnt aan Maria Magdalena, in 1772. It's an etching, a process where lines are incised into a metal plate with acid, then filled with ink and printed. The material qualities are crucial here. The acid biting into the metal creates a tonal range, which Earlom uses to mimic the soft, atmospheric style of Claude Lorrain, the landscape painter. Look at the delicate lines suggesting foliage, the subtle gradations creating depth. This wasn't just replication; it was translation. Earlom's skill transformed paint into print, making art more accessible to a wider audience. Prints like these were commodities, part of a growing market for art reproductions. This print embodies a fascinating intersection of artistic skill and commercial enterprise. It prompts us to consider how art circulates, and the labor involved in making it available. It reminds us that even seemingly straightforward images carry complex stories of production and consumption.