Drie panelen met bloemen en mand 1768 - 1786

Editor: Here we have "Drie panelen met bloemen en mand," created sometime between 1768 and 1786. It's attributed to Pierre Gabriel Berthault, and the materials listed are drawing, print, etching, and engraving. The whole thing gives off a very decorative, almost architectural vibe. What's your take on it? Curator: The means of production here are particularly interesting. These prints were not necessarily "art" in the high art sense. They served as templates, accessible and reproducible. Engravings and etchings allowed for the mass dissemination of designs to workshops producing furniture, textiles, even ceramics. Think about the labor involved – the skilled artisan meticulously recreating this design. Editor: So, it wasn't necessarily intended to be viewed as artwork itself? Curator: Not in the way we might initially assume. These panels blur the lines between high art and craft, and consider who is appropriating them and to what degree are these designs altered to serve new needs. The artist's skill is channeled into facilitating the creation of other, possibly more utilitarian objects. What does that say about value in 18th century production? Editor: That's fascinating! So, instead of focusing on the finished piece, we should be thinking about its function in a broader cycle of production and consumption? Curator: Precisely. Think about the availability of materials needed, or the skill involved. By questioning traditional artistic boundaries, the purpose of the image is not what we perceive on the surface, it’s a matter of looking beneath. Editor: I never thought of approaching a print like this that way before, seeing it as a blueprint instead of a final creation. Thanks, this definitely expands my view. Curator: It is often enriching to consider historical pieces outside of their conventional frame, in terms of their materiality and its intended utilization for society.