David Possibly 1854 - 1860

Curator: Julius Schnorr von Carolsfeld, a name as grand as the narratives he often depicted. This print, titled "David," likely created between 1854 and 1860, currently resides here at the Minneapolis Institute of Art. It’s a woodcut, so multiple impressions could be made. What strikes you about it initially? Editor: It feels so meticulously constructed, like a diorama of the Old Testament frozen in time. The precision of the lines, the almost photographic detail for a woodcut… it’s slightly unnerving, almost too perfect to convey genuine emotion. Curator: Well, Schnorr von Carolsfeld was working within a tradition that valued clarity and narrative. He was part of the Nazarene movement, and they looked back to medieval art for inspiration, which can be seen here. A fascination with history and religion are present throughout his work. We have King David playing the harp as inspiration seems to be delivered from above. But I imagine the means of producing something like this was intense. Think of the labor and skill needed to create such a detailed woodcut. It highlights a specific engagement with craft in an increasingly industrialized world. Editor: You are spot-on with craft. It’s funny, isn't it? We look at this and admire the precision, but I bet there's a hidden narrative in the artist’s own hand—the cuts, the revisions, the sheer physical effort etched into every line. One can almost hear the scraping sounds that resulted from the labor. Curator: Absolutely. The act of making is intrinsically linked to its message. And speaking of messages, there is an interesting dichotomy happening in the piece, where an historical depiction gets crafted for distribution to the masses. What does that suggest for your read of the image? Editor: Hmm, It almost feels like trying to bottle lightning. You're taking this wild, chaotic, deeply personal experience – King David in all his glory, the angelic visitations, whatever is driving the king – and you're reducing it to a repeatable image, fit for consumption. The whole idea of mass-produced spiritual art feels a bit oxymoronic, doesn't it? But there is something charming, something earnest about its effort. I admire Schnorr von Carolsfeld for trying, even if I don’t fully connect to the end result. Curator: It speaks to the complex relationship between faith, art, and technology during the mid-19th century. Editor: I agree completely. What a thought to leave us with... A beautiful way to consider process! Thank you for this perspective. Curator: Of course! Thank you for helping me think through this beautiful woodcut.