Naastenliefde (Caritas) c. 1587 - 1598

Editor: This is "Naastenliefde (Caritas)" by Jacob Matham, made sometime between 1587 and 1598. It’s a tempera and engraving print. It looks like an allegory of Charity, but what strikes me is the sheer *labor* involved in producing such a detailed print. What stands out to you about this piece? Curator: The question of labor is indeed key. Consider the production of this engraving. Each line meticulously etched into a metal plate, the press repeatedly stamping the image onto paper. The print medium itself facilitates a wider distribution of this *idea* of charity. How does that alter its value as an image? Editor: I guess it means it becomes less about a singular precious object and more about spreading a message to a wider audience. Making virtue, essentially, more accessible. Curator: Precisely! And look at the contrast in materials. Tempera, used sparingly for color, against the primary medium of engraved lines. How does the combination of these materials affect your understanding of the work? Editor: Well, the tempera seems like an extra embellishment, like the print wasn't enough on its own. Did the addition of tempera change its societal status somehow, raising it from craft to art? Curator: An astute observation. The addition of color, though minimal, perhaps elevated its perceived value within the Mannerist art market. But the *real* value is still the mechanical reproduction that it achieves and the accessibility that came with that technological capability at that time. Editor: I see what you mean! So the meaning isn’t just in the allegory, but in the materials and how the work was made. Thanks, that’s given me a lot to think about. Curator: And for me too. It's a testament to how understanding the process and material helps unlock so much of the work’s meaning and social impact.