Zeven zwemmende vogels c. 1630

Editor: We're looking at "Zeven zwemmende vogels," or "Seven Swimming Birds," by Bartholomeus van Lochom, made around 1630. It's a delicate engraving, currently held at the Rijksmuseum. It's small and intricate! What strikes me is the artist's attention to detail, especially in the texture of the reeds. What do you see in it? Curator: Immediately, I'm drawn to the materiality of this piece. Look at the lines, the density of the engraving, how van Lochom used his tools. This wasn't just about depicting birds; it was about a craftsman demonstrating his skill. Consider the societal function of prints like this: were they purely decorative, or did they serve as accessible art for a growing merchant class? What kind of labor went into producing the copperplate? Editor: That’s fascinating, I hadn’t thought about the labor behind it! It feels so…removed from that process, looking at it now. Do you think the choice of subject matter – these birds – has any bearing on the context of its creation? Curator: Absolutely. Think about 17th-century Dutch society. Birds, often associated with freedom and nature, were also commodities. They were hunted, consumed, and traded. The image becomes more complex when we consider it as a depiction of potential food or goods, framed by the economic realities of the time. Also, landscape, as a genre, was being manufactured and commodified at this time too, do you think the drawing plays into or pushes back on that phenomenon? Editor: So, it's less about pure artistic expression and more about reflecting the social and economic realities of the era. Curator: Precisely! It forces us to look beyond aesthetics and examine the means of production, distribution, and consumption of art. Editor: I'll definitely think about prints differently now. Thanks for shedding light on the material aspects! Curator: It is my pleasure. Thinking about materiality gives depth and new perspectives.