St. Fridolin 

Editor: Here we have Albrecht Durer’s drawing, “St. Fridolin.” It's a pen and ink drawing with quite a somber feeling. The skeletal figure really dominates my reading of it. What can you tell us about the material and production of this drawing that we might be missing? Curator: I'm struck by the sheer labor invested in this seemingly simple pen and ink drawing. Think about the production of paper at this time—the pulp, the pressing, the sizing—all done by hand. Then, Durer meticulously layering these precise lines to build form and shadow. We must remember, Durer wasn't just illustrating a saint; he was engaging with a whole economy of production. Look at the costume detailing - do you think this accuracy would have spoken to anyone at the time? Editor: Absolutely, the costume shows such dedication to the physical manifestation of status. It brings to mind questions of commission, doesn’t it? Who paid for the materials and Durer's time, and what was the intent behind this portrayal? Curator: Exactly! This work is the outcome of a complex system. It highlights the social value placed on religious figures. I wonder, how does the presence of death represented by the skeleton affect your reading, given its relationship to Fridolin's authority and role? Editor: I hadn’t considered it that way, but the skeleton, instead of just being a memento mori, could also speak to the temporal power structures in place. And now that I see that, even Durer’s labour to create such detail enforces these social and material structures, correct? Curator: Precisely! The very act of creating this drawing, from the sourcing of materials to the artist’s skilled hand, reflects and reinforces the socio-economic realities of its time. A stark reminder that art is never separate from the material conditions of its making. Editor: This has shifted my view quite a bit! I see it's not just about religion or death, but about the labour, materials, and patronage behind creating such a figure in art.