Het leven en bedrijf van den beruchten dief en moordenaer Kartousie / Geradbraeckt den 28 november 1721 1723 - 1748

Editor: Here we have a print titled "Het leven en bedrijf van den beruchten dief en moordenaer Kartousie," created sometime between 1723 and 1748. It's an engraving, currently held at the Rijksmuseum. The narrative unfolding across these little boxes feels very…graphic, almost like an early comic strip. How do you interpret this work? Curator: Focusing on the material production, we can see the accessibility of printmaking enabled wider dissemination of such sensational stories. The artist, Isaak van der Putte, was not only an artist but also a bookseller, underscoring how art served commerce. The visual storytelling relies on readily available, repeatable techniques, suggesting a focus on efficiency and widespread consumption rather than precious artistic individuality. Does that shift your understanding? Editor: Yes, definitely. I was thinking about the artistic intent behind the individual panels, but it’s much more about the system of production and distribution. It's less about artistic vision, and more about…art as a commodity? Curator: Precisely. Think about the intended audience too. Broadsides like these were cheap and circulated among the common people, conveying social morals, or, in this case, cautionary tales through easily digestible imagery. Editor: So, instead of focusing on the artistry, we should look at how the materials, production methods, and the marketplace itself shaped what we see? Curator: Absolutely. The imperfections and crudeness are not artistic failings, but reflections of the socio-economic context. The story itself becomes secondary to the process that made its telling possible. Editor: That’s fascinating. I hadn't considered the labor and commerce intertwined in creating art. I will look at prints very differently going forward! Curator: Me too, it's a helpful reminder to look beyond aesthetics, into the guts of material production!