The miraculous draught of fishes 1480 - 1540

Editor: Here we have Hans Schäufelein's "The Miraculous Draught of Fishes," a drawing from roughly 1480 to 1540. It depicts quite a busy scene. What strikes you most about this piece? Curator: The fascinating thing for me lies in understanding the socio-economic underpinnings of its production. This wasn’t just art appearing from thin air, it reflects resources, labor and the context of a market. Schäufelein and his workshop required materials—paper, ink, tools—acquired through specific trade networks. How do you see this impacting the meaning of the image? Editor: That's a good point. It definitely forces you to think about who had access to art and what sort of value it had for them. Was it purely aesthetic or more related to some form of commodity? Curator: Precisely. The choice of a biblical scene connects it to a patronage system, likely intended for religious institutions or wealthy individuals. Furthermore, look at the intricate linework achieved with specific engraving tools; that’s a testament to specialized craft and apprenticeship systems operating at the time. It reveals the process of production which speaks about Northern Renaissance workshops. Editor: It also makes me think about how far this drawing could have traveled. Paper is relatively light. I mean it’s easier to transport around than a fresco on a wall. Curator: Exactly! That inherent portability implies wider accessibility and potentially democratic distribution. The consumption of the images through distribution contributes toward a communal experience with religion. How do you perceive its availability and social effects? Editor: That’s an important aspect I never truly considered. Understanding art in its socio-economic terms opens it up to a whole new avenue of questions. Thanks! Curator: Indeed! Analyzing materiality brings forth hidden connections and social frameworks underlying the creation and viewing experience of art.