Paulus geneest een man die niet kon lopen 1655 - 1700

Editor: Here we have Jan van Somer's print, "Paulus geneest een man die niet kon lopen," created sometime between 1655 and 1700. It's a beautifully detailed engraving, and what strikes me is the focus on the interaction between Paul and the man – how should we read that, particularly with so many witnesses around? Curator: What stands out to me is how the printmaking process itself relates to the social context it depicts. This image wasn’t a singular object of reverence but was meant for wider consumption. The means of production, engraving, allowed for reproducibility and distribution. How does the ability to replicate and disseminate this scene impact its message regarding charity and divine intervention? Editor: That’s a great point! Thinking about the labor involved in creating all those prints changes how I view the artwork. It moves it away from just being a religious scene, and more towards thinking about the industry behind it. How would the materiality of the print – the paper, the ink – have influenced its value and reception? Curator: Precisely. The accessibility afforded by prints also challenges traditional hierarchies between art forms and audiences. It puts images, stories, into the hands of potentially a much broader segment of the population than paintings would have reached at that time. What's being bought and sold when you purchase a religious print? Are you buying art? A sermon? Editor: Hmm, maybe access to faith and social belonging itself? I hadn’t considered how much the method of creating and distributing art influences its social function. This really opens up my understanding of art's role in society. Curator: Indeed. Looking at art through the lens of materials and production helps us see beyond the surface narrative.