Nîmes door de hugenoten verrast, 1569 c. 1569 - 1571

Curator: Editor: Here we have "Nîmes door de hugenoten verrast, 1569," created around 1569-1571 by Frans Hogenberg. It’s a print, an etching, and an engraving all in one! I’m immediately struck by how this cityscape captures a specific historical moment. What details grab your attention when you look at this print? Curator: Considering the materiality, the etching and engraving processes themselves are crucial. Each line, each mark, required physical labor, a deliberate act of carving into the metal plate. These weren't spontaneous creations; they represent a system of production intended for mass consumption. Notice how the medium allows for a detailed rendering of the scene. What does that tell you about the intention behind creating this image? Editor: It makes me wonder, was this process accessible? And how widely available would a print like this have been? Curator: That's exactly the right question! Printmaking at this time was tied to economic and political power. The materials, the workshop, the distribution networks – these things dictated who could create and consume such images. Consider the layers of labor involved. There’s the artist, of course, but also the printers, the paper makers. It prompts us to think about the conditions surrounding its creation and its initial audience. This piece speaks volumes about the socio-economic context in which it was made. Editor: I hadn’t really considered all of the steps and people that were needed to make this. Curator: It is not just about seeing the final result, but also about appreciating and understanding the means and conditions through which that outcome was realised. Editor: Thanks, I will never look at prints in quite the same way now!