Plattegrond van Rome in de Romeinse tijd (twaalfde deel) 1773

Editor: Here we have an etching from 1773 entitled "Plattegrond van Rome in de Romeinse tijd (twaalfde deel)" – "Map of Rome in Roman Times, part twelve." The artist is anonymous. I’m struck by the level of detail, depicting what looks like a bird’s-eye view of the city. How do you interpret this work, especially considering it's an etching? Curator: What I find compelling is thinking about the materiality of this image. It's an etching, a print. Consider the labor involved: the artist carefully incising lines into a metal plate, the application of acid to eat away at the exposed areas, and finally, the act of printing itself. It speaks volumes about the desire to disseminate information. Editor: So, it's not just about the aesthetic representation of Rome but also about the process of its reproduction and distribution? Curator: Precisely. Before photography, prints like these served a vital role in circulating knowledge. How many prints could the artist produce from one plate, and who had access to those prints? The availability of this image depended on factors like the artist's workshop, their access to printing presses, and the demand from a burgeoning market eager for accurate depictions of famous cities. Consider, too, that the etching itself necessitates specialized labor and access to materials. Editor: So, examining the printmaking process allows us to understand the context of production, who was creating this art, and for whom. Curator: Exactly. It allows us to see this not just as a landscape or document, but as a material object with a social life, deeply embedded in the economic and cultural systems of its time. This gives me a lot to consider. Thanks. Editor: Thanks. I'll definitely think more about that production process going forward.