Verschillende zeedieren 1778

Editor: So, we’re looking at "Verschillende zeedieren," or "Different Sea Creatures," created in 1778 by Robbert Muys. It's a print that combines aquatint, engraving, and ink on paper. I’m struck by its scientific and almost clinical style. It feels like a page out of a biology textbook. What jumps out to you about this piece? Curator: It's precisely that "scientific" quality that interests me. Consider the means of production: engraving and aquatint were crucial for disseminating knowledge and controlling visual information in the 18th century. This wasn't simply an aesthetic choice; it reflects the values placed on accuracy, objectivity, and standardization inherent in the era's developing scientific practices. How do you think the choice of these printmaking methods affects our understanding of the natural world? Editor: That's a really interesting way to frame it. I hadn't thought about the printmaking process itself contributing to a specific worldview. I suppose it does lend a certain authority. Curator: Exactly! And notice how the print meticulously catalogues the different sea creatures. This relates to how classification was crucial at this time, and tied to colonial resource extraction and domination. By fixing these ephemeral creatures into print, Muys, enabled this act of knowledge as power. Consider also, the labour involved in creating the detailed plates – that’s part of its meaning. Do you see the plate number? How might that influence its interpretation? Editor: I see it – "Pl. 13." It positions it within a larger collection or scientific text, doesn't it? Implying, as you said, control of information… It’s not just an individual artwork; it's part of a system. I will certainly not overlook process again. Thank you for sharing a new perspective! Curator: My pleasure! Recognizing the labor, materiality, and purpose of production changes how we view art. It ceases to be just a picture and becomes an object deeply enmeshed within its time.