David hoort van de dood van Saul en Jonatan / Absaloms dood 1724 - 1769

Editor: Here we have "David hears of the death of Saul and Jonathan / The Death of Absalom," an engraving by Noach van der Meer (I) dating from around 1724 to 1769. I am really struck by the starkness of the lines; the process feels very present. What do you see in this print? Curator: It's compelling how the starkness highlights the very labor embedded in printmaking, isn't it? I immediately look at the production of this work. Engraving, unlike other forms of printing, relies on this forceful act of cutting into the metal. This image isn't just *of* historical events; it embodies a physical, laborious process. What do you think this emphasis on material production adds to our understanding of the subject matter? Editor: I hadn't thought of it that way! It makes me think about the power structures inherent in artistic creation, who had access to the materials, tools, and training needed to create an engraving like this. It wasn’t something everyone could do. Curator: Exactly! And consider how these images, likely reproduced and disseminated, participated in shaping the very narrative of these biblical stories. The artist isn’t just illustrating scripture, but actively involved in the reproduction and dissemination of this worldview. It's a far cry from unique painting – which gives engravings a specific place in history of production of art. Editor: So the process of engraving itself adds another layer of meaning and interpretation to these historical narratives. Curator: Precisely. The choice of engraving isn’t neutral. It suggests something about the artist's intended audience, the potential for mass consumption, and even the societal values assigned to laborious processes versus the 'genius' of individual creation in painting. Editor: That’s given me a lot to consider – how the method and material of creation really influence meaning! Curator: It’s a powerful way to think about art: how material and means of production shapes perception.