Dgi-Guerdgi Albanois, qui porte au Bezestein des Foyes de Mouton pour nourrir les Chats, plate 60 from "Recueil de cent estampes représentent differentes nations du Levant" 1714 - 1715

Editor: Here we have "Dgi-Guerdgi Albanois, qui porte au Bezestein des Foyes de Mouton pour nourrir les Chats" made between 1714 and 1715 by Jean Baptiste Vanmour. It seems to be a print, currently residing at the Met. What strikes me is how directly the artist depicts this individual engaged in what appears to be his daily labor. How do you interpret this work? Curator: This print, seemingly a straightforward genre scene, offers a compelling view into 18th-century perceptions of labor and cultural exchange. The focus on the man's profession—carrying sheep organs to feed cats—challenges established hierarchies that separated fine art from everyday craft and labor. What does the means of producing and circulating these prints tell us about consumption patterns and orientalism? Editor: That’s a fascinating angle. I was so focused on the content I had forgotten it's a print. So, the act of producing this image is itself a commodity that's then circulated... How would that production and circulation contribute to perceptions about the “Orient”? Curator: Exactly. Vanmour was employed by the Ottoman court, tasked with documenting various aspects of Ottoman life. This print, part of a larger series, would have been consumed by a European audience, shaping their understanding – or perhaps misunderstanding – of the “exotic” East. The materials, the engraving techniques, the networks of distribution – all played a crucial role in constructing and reinforcing power dynamics. Editor: So, the very materiality of the print – its production and dissemination – became part of the orientalist narrative? Curator: Precisely. By dissecting the means of production, we expose the complex interplay between art, labor, and the social context of the time, ultimately inviting audiences to consider who benefits from artistic creation. Editor: I hadn't considered that before! Thank you for illuminating the layers within its materiality!