Christus als verlosser 1693

Editor: So, this is "Christus als verlosser" from 1693, by Samuel Bottschild. It's an engraving, quite detailed. There's this feeling of heavenly ascension, you know? All those figures floating in the sky, like some sort of a religious allegory. What do you make of it? Curator: Well, as a print, this piece has to be understood through the lens of its production. Engravings facilitated the distribution of religious imagery on a mass scale in the Baroque era. It brings up questions of access: Who had control of these narratives and to whom were these messages distributed? Editor: I see what you mean. It wasn't just about the image itself, but also how it was made and who got to see it. Did the engraver have artistic license, or were they just reproducing someone else's idea? Curator: Exactly! And what kind of labour went into this engraving? The skill of the artist to replicate complex compositions and details, but also the socio-economic context in which these images were consumed, both individually and as a collective of religious followers. This brings forward interesting discussions on high art and craft. What is considered one or the other? How is the value of each decided? Editor: So, it is about the material, the method, and the message, all intertwined and made available at this specific time. I guess you can't really separate the art from its history. Curator: Precisely! Considering all these things makes the viewing experience richer.