Illustratie voor de Decamerone van Boccaccio 1697

Curator: The first thing that grabs my attention here is this detailed rendering achieved through etching and engraving. It's an illustration from 1697 by Romeyn de Hooghe, part of Boccaccio's Decameron. Look at the precise lines creating depth, almost like a photograph of its time, it is almost mass-produced, given how detailed and accurate this etching of a story of Boccaccio's Decamerone is. Editor: It definitely has that handcrafted feel, even with the precision. What is it about the materiality of printmaking that's key here? Curator: Consider the labor. Engraving demands skill and time. De Hooghe was reproducing stories for a potentially wide audience. Print democratized narratives but required specialized knowledge and tools. The lines themselves aren't just depicting figures, they are evidence of a process, of the artist's hand guiding the burin. Where would such prints be consumed? In private homes, circulated in burgeoning literary circles, impacting moral judgements and values. Think about who had access to it? Editor: So, it’s about the spread of knowledge and the materials used in the service of culture? Curator: Exactly. And the accessibility granted to them. What would have been confined to wealthy circles can reach the merchants of the new age. The very act of printing becomes part of the story. It shifts artmaking from unique artworks to easily copied materials. Do you agree with this view? Editor: Yes, the idea that an artist can create something that anyone could have in their homes is a modern one, yet one of democratisation! Thanks, I never looked at it from that perspective! Curator: Considering art through the lens of materials helps unveil these hidden facets, doesn’t it? I never cease to enjoy printmaking's combination of replicability and the individual talent involved.