Anna Maurella Oldofredi d'Iseo c. late 16th century

Editor: Here we have Giovanni Battista Cambio's bronze medal, "Anna Maurella Oldofredi d'Iseo," created in the late 16th century. It’s quite striking. The detail in the hair and drapery is incredible. What speaks to you most about this piece? Curator: What I find fascinating is thinking about the bronze itself, its production, and what that says about Anna Maurella’s status and the society that valued these commemorative objects. Bronze casting in the Renaissance was a highly specialized process, requiring skilled labor and access to materials. Who were the workers? Where did the materials come from? Editor: That’s a perspective I hadn’t considered. I was more focused on Anna herself, and the artistry in her portrait. Curator: And that’s valid, but the material offers another entry point. A medal like this served not only as a portrait but as a kind of portable monument, proclaiming her identity and, by extension, the wealth and power of her family. Think about the function of display – who saw it, and in what context? Was it traded, inherited, kept in a private collection, or displayed publicly? Editor: So, the medal itself becomes a signifier of economic and social structures? It moves beyond simply being art. Curator: Precisely. It highlights how art production is deeply enmeshed with social hierarchies and the flow of resources. We often forget the labour involved in creating objects like this, favouring an almost mystical understanding of artistic ‘genius’. But acknowledging the labor gives the work new depth and helps us view Anna’s image not just as portraiture but also as material culture. Editor: That's really insightful. I’ll definitely be paying closer attention to materials from now on. Curator: Excellent! Materiality and labour have everything to teach us about power dynamics.