Beleg en verovering van Hulst door Frederik Hendrik (blad linksonder), 1645 by Abraham Dircksz. Santvoort

Beleg en verovering van Hulst door Frederik Hendrik (blad linksonder), 1645 1646

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print, etching

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dutch-golden-age

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print

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etching

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line

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cityscape

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history-painting

Dimensions: height 420 mm, width 535 mm

Copyright: Rijks Museum: Open Domain

Editor: So, this print is called "Siege and Conquest of Hulst by Frederick Henry", created by Abraham Dircksz. Santvoort in 1646. It's an etching. At first glance, it feels like a technical document, but also sort of painterly due to the density of the etched lines, particularly near the lower left corner. How do you approach something like this? Curator: From a materialist perspective, the etching process is central. Consider the copper plate itself, the labor involved in its creation, and the chemicals used in etching. The lines are evidence of a very direct engagement between artist and material, almost a collaboration between hand and acid. Do you see the level of detail conveyed here? What does that labor communicate? Editor: Well, there’s an immense amount of detail—it's incredibly meticulous. I imagine the creation of this must have taken a significant amount of time. The small figures and landscape show great care. I guess that speaks to the perceived importance of the subject being depicted, but I never really thought about the material itself embodying this sense of...importance or...purpose? Curator: Precisely. It is useful to consider that the making process influences meaning, impacting the consumption of the work by its intended audience, namely, a patron or ruling class. It immortalizes power structures, both military and social. Editor: I see your point about the process. By considering the artist's work, the materials, we understand more clearly the intended purpose of such detailed piece: conveying power, rather than solely a simple depiction of the siege. Curator: Exactly. Consider also the market for prints like these. Were they for personal enjoyment, propaganda, or historical record-keeping? What impact would their method of production and material accessibility have? Editor: Thinking about this print as an object deeply rooted in the means of production makes its purpose and context much more tangible and less abstract for me. Thank you!

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