Landschap met meer en twee herders met vee Possibly 1774

Editor: This print, "Landschap met meer en twee herders met vee," attributed to Richard Earlom, possibly from 1774, uses etching and engraving on paper. It has this dreamlike pastoral quality to it. What strikes you about it? Curator: It's fascinating how Earlom utilizes etching and engraving, typically considered reproductive techniques, to evoke the atmosphere of a painting. Notice the textures he creates. It raises questions about the hierarchy of artistic mediums – is this print merely a copy, or does Earlom's skill elevate it to an original work of art in its own right, showcasing the labor involved in its creation? Editor: I see what you mean. I initially saw it as just a landscape scene. Curator: Consider the material conditions of 18th-century printmaking. Etchings like this were commodities, circulated widely to bring art to a broader audience. This print reproduces a landscape, making the wealthy ideal available to a different social class. It makes you wonder about artistic intention, what does the making of a piece like this entail? How do these techniques affect its value? Editor: So, you are saying the print serves almost as a vehicle, spreading both art and, inadvertently, maybe even social aspiration? Curator: Precisely! Think about the division of labor, the artisan skills required to produce it, and how the print became a tradable object consumed within a specific social and economic system. It blurs lines between artistry and labor, prestige, and reproduction. How do you view this image after understanding its purpose and means of distribution? Editor: I'm viewing the work in an entirely new light, thinking of the production of it and its place in 18th-century society rather than just seeing the artwork itself. Thank you! Curator: It has given me pause as well. It challenges what we deem of value, no?