Lucretia 1620 - 1670

Curator: This is Giovanni Andrea Sirani's "Lucretia," an engraving created sometime between 1620 and 1670. It resides here at the Rijksmuseum. What strikes you about it? Editor: The fine lines, characteristic of an engraving, give it a delicate, almost melancholic feel, and a surprising sensuality considering its small size. What can you tell me about this piece? Curator: For me, understanding its materiality and the social context of printmaking is key. Engravings like this weren't high art in the same way painting was, they were reproducible commodities. Think about the labor involved. Sirani, or perhaps someone in his workshop, meticulously etched these lines into a metal plate. The number of impressions made from that single plate tells us about its popularity and reach – about demand, value, and social status. What does the material suggest to you about its cultural role? Editor: Well, it seems more accessible than an original painting, like a portable, more democratic way to experience art… perhaps to express moral and political positions in private? Curator: Exactly. The story of Lucretia, a woman who took her own life after being assaulted, would have resonated deeply. But the engraving, beyond illustrating a moral tale, became a tool. Prints allowed for the wide circulation of stories. It made a potent message both visual and material. How do you view it in relation to our contemporary image culture? Editor: I never thought about it in that light before! It is interesting to consider these early images as predecessors to today’s social media imagery, with similar power to shape narratives through repeated image and story. Curator: Precisely. Reflecting on its creation and use really transforms our appreciation, doesn't it? Editor: Absolutely! It shows that art isn't just about aesthetics, it's deeply tied to the social and economic realities of its time.