Saint George as the Emperor Maximilian's Patron Saint 1516 - 1518

Editor: This is Hans Springinklee's "Saint George as the Emperor Maximilian's Patron Saint," created between 1516 and 1518. It's a woodcut, with incredible detail despite the constraints of the medium. The intricate linework gives the figures such presence. What strikes you most about it? Curator: For me, it's all about the printmaking process itself. This isn't just an image; it's the product of skilled labor. Consider the time, the carving, the physical effort required to create this detailed image from a block of wood. Look closely. What does the artist emphasize through the line and its density? Editor: I notice how much denser the lines are on the knight's armor and the dragon, making them stand out. It really emphasizes the textures and the three-dimensionality despite it being a print. Curator: Exactly! And why these choices? This image elevates Maximilian through association with St. George, and the very labor-intensive production of the woodcut acts as a form of validation. What do you think about that relationship? Editor: That’s interesting. So, the value isn't just in the image itself, but in the evidence of the skilled craftmanship, almost like advertising how much effort and resources Maximilian can command. Curator: Precisely. We often separate "high art" from craft, but here, the materiality – the wood, the ink, the artisan’s effort – are intrinsic to the work’s message. The consumption of the artwork reflects on his status. The value resides within production, circulation and reception of this print as it moves through society. Editor: I hadn’t considered the social context of the work and how that is embedded in its creation, distribution, and purpose. Thanks, I will keep that in mind! Curator: It adds a whole new dimension, doesn’t it? Materiality matters.