"Now, it is finished." 1843

Curator: The starkness of this image immediately grabs me; it feels so devoid of hope. Editor: We're looking at "Now, it is finished." by Paul Barfus. Barfus, born in 1823, gives us here a look at the crucifixion, and while undated, the materials used suggest a mass-produced print, reflecting the period's evolving modes of religious image dissemination. Curator: Yes, you're right. I’m struck by how the stark black and white amplifies the raw emotion. The composition draws your eye directly to the central figure, but also to the figures surrounding him. Editor: The reproductive printmaking process itself democratized access to such imagery. This challenged older power structures linked to exclusive, handcrafted religious icons. The means of production here are inseparable from its social impact. Curator: Thinking about the labor of production, it’s impossible not to see the politics of representation. How the suffering of the central figure is rendered is deeply tied to power, faith, and historical trauma. Editor: Absolutely. It's fascinating how material constraints and production methods shape not only the image, but also the access to, and reception of, these potent religious and political narratives. Curator: It has left me reflecting on how these images continue to shape our understanding of sacrifice and oppression today. Editor: Indeed, a stark reminder of how deeply intertwined art, production, and belief truly are.