Portrait medal of George the Bearded (duke of Saxony) (obverse); coat of arms (reverse) 1537

Editor: Here we have a silver medal crafted in 1537 by Peter Flötner, a portrait of George the Bearded, Duke of Saxony. The level of detail in the metalwork is incredible. What can you tell us about it? Curator: This piece embodies the intersection of art, craft, and power. Flötner wasn't just making "art"; he was engaged in the production of status and propaganda. Consider the labor involved in die-cutting the silver, the specialized skill, the repetitive motions – and what Duke George then does with that artifact. How does that process inform the meaning? Editor: I guess I hadn't considered the labor so directly. How would its reception change depending on who viewed it? Curator: Precisely! Was this intended for circulation amongst the elites, as currency perhaps, or kept within George’s inner circle? The material itself, silver, denotes value, while the production implies a cost. How does it reflect Saxony's economic or social networks? It prompts questions about class, labour, consumption, and access in 16th century Saxony, don’t you agree? Editor: I do. The inscription too - "Semper Laus Eius in Ore Meo" - is part of that consumption and status... constantly praising in his mouth. So this wasn't just a pretty object, but a piece deeply embedded in social relations? Curator: Exactly! By analyzing the material production, we can see how art becomes intertwined with economic and power structures. The medal transcends mere representation; it becomes an artifact shaping its world. Editor: This has shifted my understanding of the medal. It’s less about the portrait and more about the world that made it possible. Thank you! Curator: It highlights how the means of production often dictate the artwork’s purpose and enduring power. A fascinating lens through which to see art!