Mozes ontvangt van God de Tafelen der Wet 17th century

Curator: Here we have Jan Goeree’s 17th-century pen and ink drawing, "Moses Receiving the Tablets of the Law." The monochromatic effect lends a somber mood. What strikes you most about it? Editor: Well, first, it is a pretty classical depiction of Moses receiving the Ten Commandments. What I notice is the use of, I suppose, a limited palette and visible strokes of ink. What can you tell me about that choice of materials? Curator: Precisely! The seeming simplicity—the immediate availability of pen and ink—belies the socio-economic context of artistic production at the time. Think about the availability and cost of pigments, the workshop practices involved in preparing canvases versus the individual labor of a drawing. Editor: So, by choosing pen and ink, Goeree is making a statement about artistic labor itself? Curator: It's less about a statement and more about acknowledging the materiality of art making. The sketch highlights process and, crucially, access. A grand oil painting necessitates patronage, while a drawing could be more readily disseminated. Consider the social reach implications. Who got to see this, and in what format? Editor: That's a really fascinating point, looking at it as a readily accessible medium rather than an inherently 'lesser' one. So the ‘line’ style… is that linked to its availability too? Curator: The emphasis on line also invites us to think about engraving and printmaking, further extending its potential reach. How do these lines serve, and for whom? Editor: I hadn’t thought about it in those terms, it gives me a totally different view about materiality being part of its appeal and not something separate to it. Thanks for sharing that with me. Curator: My pleasure, considering access opens new readings to many artworks.