Pilatus toont Christus aan het volk (Ecce Homo) after 1517

Editor: Here we have an engraving called *Pilatus toont Christus aan het volk (Ecce Homo)*, dating from after 1517, in the Rijksmuseum. It’s attributed to an anonymous artist. The circular composition feels quite claustrophobic. I'm curious, what's your perspective on this engraving? Curator: As a materialist, I am drawn to consider the cultural implications of printmaking. Look at the lines: consider the labor involved in producing this image. Every stroke had to be carefully carved. Engravings like this allowed for mass production and dissemination of religious narratives. Think about who had access to them, how they were circulated, and what impact it had on the consumption of art. This moves away from solely artistic skill. It is no longer the value of just singular 'high art'. Editor: That's interesting! So you're focusing on the printmaking process itself rather than, say, the biblical scene? Curator: Exactly! The act of producing multiple copies democratized the image, but also changed its value. Were these images commodities? Propaganda? Did ownership and circulation of an image alter power structures? Consider the labor. Was it fulfilling? Was it exploitative? Who profited? Editor: So it's more about the 'how' and 'why' it was made than just 'what' it depicts? It really makes me consider the lives of the people who were involved in its creation. Curator: Precisely. Examining its materiality—the paper, the ink, the tools used—along with the social context, it challenges our perception. This recontextualizes art by deconstructing established norms within the field of visual culture. Editor: I’ve always been focused on symbolism in art, so I've definitely gained a lot from this view. Looking at art as labor helps me to think more critically. Curator: I agree, considering those material processes allows for richer dialogue about what, how, and why certain artists have been centered within traditional frameworks, but that the narrative surrounding how their work came to be.