Heilige Pithyrion after 1636

This is Frederick Bloemaert’s ‘Heilige Pithyrion,’ an engraving, meaning it was made by cutting lines into a metal plate, inking it, and pressing it onto paper. The image displays a saint, and it is the quality of the line which animates this scene. Notice how the parallel hatchings create tone, how the saint's robe is brought to life by Bloemaert's skilled use of the burin. The density of lines defines the shadows and contours, suggesting volume. This wasn’t a new invention, but a well-established method in Bloemaert’s time, yet each print relies on the hand-skill of the artist for its effect. So, while printmaking allowed for distribution and wider access to images, the quality was still dependent on practiced expertise. This meant that printmakers occupied an interesting place in the art world, somewhere between artist, craftsperson, and manufacturer. Ultimately, recognizing the labor involved in creating this image helps us appreciate the skill and artistry of the printmaker, and challenges any easy separation of art and craft.