The Rising Moon 1850 - 1860

Editor: So, here we have Samuel Palmer's "The Rising Moon," dating from between 1850 and 1860. It's currently held at the Met. It’s an etching, but also includes engraving, pencil, and ink. I'm really struck by how meticulously Palmer captures the texture of the sheep's wool. It seems to emphasize the labor involved in shepherding. How do you read this piece? Curator: Well, this intricate etching and engraving compels us to consider the economic context of the English rural landscape and how artists represent that context. The labor that's required, for instance. The figure stands vigilant to ward off predators while simultaneously inviting them closer, potentially into a pen from which there is no escape. Think, then, about who benefits from such labor; it's certainly not the figure who profits but others within a larger system. Editor: I never thought of it in that way! Is that why the artist chose etching and engraving rather than other printing processes? Curator: Precisely! The etching and engraving process mirrors the cycles of agricultural labor. The labor involved in printmaking, such as repeatedly impressing the image and manually layering to yield an editioned piece. Every step requires production and invites reproducibility as part of the logic, echoing cycles of consumption. Notice, the intense level of detail reinforces value to the eventual owner. What implications can we derive, here? Editor: That the romanticism within the naturalistic elements are less genuine to the eye as initially presumed! It sounds like a lot of work went into it. I guess that detail helped to secure its place as an "art" object rather than being considered a craft? Curator: Exactly. The materials speak directly to its status within cultural and financial ecosystems, as if creating the piece meant creating labor. Now how do you feel about this artwork? Editor: That's so insightful, I definitely see the piece in a new light. I see now that the beauty of the rising moon isn't simply aesthetic. Thanks, this has really changed my perspective. Curator: Indeed, I share your sentiment; considering its implications allows new perspectives on this art and invites a new discussion around materiality.