Army on the March 1746

Editor: So, this ink and etching print is called "Army on the March," dated 1746 by an anonymous artist, here at the Minneapolis Institute of Art. It depicts riders and marching soldiers. The scene has such an ordered feeling, even with the hustle. What do you see in this piece, considering its historical moment? Curator: It is crucial to consider the visual language used. The landscape format, with figures rendered with fine detail and clearly distinguished from the mass, is characteristic of military prints and emphasizes the display of power. Given that it's from 1746, the image needs to be thought about in relation to contemporaneous wars and their representations. How would an image like this function publicly? Editor: I imagine it was meant to instill a sense of confidence. Was it common to not credit the artist back then? Curator: Anonymity could serve a propagandistic function; think of it as depersonalizing the artistic contribution to better serve state power. The subject matter overtakes the cult of the individual artist. Does that hierarchy shift your perception? Editor: It does. I initially saw an objective depiction, but knowing it was likely used as propaganda alters how I perceive it; this impacts the understanding I have of history-making in general. I suppose propaganda's visual language can be hard to identify from a distance? Curator: Indeed. But by recognizing the print's strategic deployment and its engagement with military and political spectacle, we’re not just passively observing a historical scene; we’re critically analyzing the political purposes of visual representation. Editor: Right, and propaganda often uses idealized forms, while also presenting it as realism. I see the social effects much clearer now. Thanks for clarifying. Curator: It’s been my pleasure to re-examine this piece alongside you.