Zwijn aangevallen door vier jachthonden c. 1657 - 1677

Editor: This is "Zwijn aangevallen door vier jachthonden," or "Boar Attacked by Four Hunting Dogs," made around 1657 to 1677 by Marcus de Bye. It’s an engraving using ink. The scene is really intense, all focused on this struggle between the animals. What stands out to you? Curator: What strikes me is how this piece highlights the complex relationship between humans, animals, and the land, represented through the very materials used – the ink, the paper. It shows the act of hunting not as sport but as labor, part of the wider economy. De Bye’s choice of engraving, a reproducible medium, suggests this wasn’t intended for a wealthy patron’s private collection, but for wider circulation. Does that resonate with you? Editor: It does. I was thinking about how the artist carefully crafted this image using engraving techniques, making many copies. It connects with a larger system of creating art. Does the landscape play a part in that material context, too? Curator: Absolutely. The landscape isn't just a backdrop; it's where resources are extracted, and hunting takes place. The placement of the hunter at a remove shows his position of power over the other players, almost like a factory owner removed from his labour force. Have you considered the labor involved in maintaining hunting dogs, compared to that of the wild boar? Editor: I never thought about it that way. So, instead of seeing just an action scene, we are looking at commentary on humans controlling nature and animals, plus the whole economy that goes with it, through this relatively inexpensive, reproducible print. Curator: Exactly. De Bye’s artwork lets us consider art-making alongside other forms of production and power dynamics. Editor: That really changes my understanding of it. Thanks for helping me look at it differently. Curator: My pleasure. Seeing art through a material lens can reveal hidden connections and meanings.