Derde eeuwfeest van de uitvinding van de boekdrukkunst 1740

Editor: Here we have Gerrit Marshoorn’s "Third Centenary of the Invention of Printing" from 1740, struck in either silver or perhaps a base metal that's been silvered. It’s quite small but meticulously detailed. The contrast between the raised figures and the flat background really makes the forms pop. What’s your interpretation of this piece, given its formal qualities? Curator: The success of this medal lies in the way Marshoorn balances representational demands with formal structure. Note the considered placement of text around the periphery, contrasting with the central figuration on both sides. Do you see how this contrast is maintained, and then resolved? Editor: You mean how the lines of text encircle and essentially frame the central image, directing our focus inwards? The lettering does serve as a sort of visual boundary. Curator: Precisely. It establishes a contained, almost classical composition. Then consider the low relief. The artist’s mastery is evident in rendering depth using such subtle modulations, creating form without bulk. Editor: The details are impressive. You can even make out the individual lines of text within the miniature book on the reverse. It's like he’s deliberately showcasing his technical skill. Curator: Indeed. It demonstrates an almost obsessive dedication to detail, elevating the medal beyond mere commemorative object and into a testament to the craft itself. The inscription on the reverse— "Typographia Harlem" – anchors the object, resolving both sides’ compositions in printed words. Editor: I see. So the medal’s form really echoes the very invention it celebrates: precision, clarity, and accessible knowledge. It has been fascinating to analyze Marshoorn’s craft. Curator: Yes. And by considering form over purely representational meaning, we appreciate the deliberate artistic choices that make it such a compelling artifact.