De triomf van de Eucharistie over wijsbegeerte, wetenschap, dichtkunst en natuur (rechter plaat) c. 1626 - 1652

Editor: Here we have Nicolaes Lauwers’ engraving, "The Triumph of the Eucharist over Philosophy, Science, Poetry, and Nature," dating circa 1626 to 1652. It's such a detailed allegorical scene; what do you see in the production of an image like this? Curator: The making of this print embodies a particular set of social relations. Look at the division of labor implied in this level of detail. Someone designed it, someone engraved it – the hand labor is intensive. Think of the cultural capital invested in disseminating these theological ideas through printmaking. It served to materially reinforce specific power structures of the church. Editor: So, you're focusing on the physical production rather than the artistic intent? Curator: Artistic intent is molded by available material processes and resources. The very act of creating multiples through engraving makes this different from painting. Who had access to these images? Where were they displayed, and what message did this convey to those who saw it? The labour invested in creation and dissemination becomes a facet of the art’s impact. Editor: That's a different perspective. So, by examining the engraving process, we learn not only about the artist but the social systems at play during its creation? Curator: Exactly. It transcends mere iconographic interpretation and opens up material dialogues related to social values. Editor: This engraving gives us so much more to consider than I originally thought! Curator: Indeed. Approaching art with a material lens often does.