Bas-reliëfs van twee krijgers met paard, Vrede en Mars voor de deur van Janus en Bacchus met twee maenaden before 1873

Curator: These intriguing engravings before 1873, entitled "Bas-reliefs van twee krijgers met paard, Vrede en Mars voor de deur van Janus en Bacchus met twee maenaden" by Joseph Cundall present classical scenes in relief. What strikes you initially? Editor: Well, they're fascinating. They're presented as prints but appear to document relief sculptures of ancient, or at least classical subjects. What’s compelling is the apparent intersection of printmaking, sculpture, and even photography into what’s recorded on this page. How would you read them as indexical of artistic practice and materiality? Curator: From a materialist lens, the photomechanical process is crucial. The choice of this printing method inherently democratizes classical art, and considers production under the aegis of larger industry. This isn't just about the classical subjects, but about the means by which they are disseminated and consumed. What does the reproductive technology say about art appreciation and knowledge at the time of its making? Editor: That’s interesting. The availability afforded by printmaking changes the dynamic of experiencing artwork. Instead of an elite viewership in physical proximity of the artworks, there are mass distributed images with associated changes in ownership and cultural participation. What does the subject matter contribute? Curator: The imagery is tied to broader sociopolitical themes—military strength versus peace (as shown via Mars versus Janus), or even an emphasis on the pleasures of "Bacchus". I consider whether these themes reflected anxieties within society when they were reproduced and circulated. It’s also an important nod towards neoclassical art movements. Do you think this method and depiction elevated or depreciated the artistry involved in producing these original relief sculptures? Editor: That's a really interesting point, because it opens questions about authenticity and access. Maybe the point isn't elevation versus depreciation, but about completely reframing classical works within the reach of a modern, mass audience. Thank you, I'll definitely think of materiality in a new light. Curator: Indeed, by examining the materiality of its production, it reshapes not only how it’s disseminated but what value is assigned to it within society.