Stonemasons carving the arms of the Bolognese Cardinal Petro Vidono, under his direction 1663

Editor: This is a drawing titled "Stonemasons carving the arms of the Bolognese Cardinal Petro Vidono, under his direction," created in 1663 by an anonymous artist. It's currently housed at the Met. I'm struck by the contrast between the refined figure of the Cardinal and the physical labor depicted. What do you see in this piece? Curator: The division of labor and the power dynamics inherent in this image are what immediately grab my attention. We see the Cardinal, presumably dictating the terms of his own commemoration, while the stonemasons enact his vision. Who benefits from this image? Editor: It seems to reinforce the Cardinal’s power, doesn't it? But the artist includes the laborers – they’re not just faceless drones. Curator: Exactly. This drawing acts as both a record and a form of social commentary, intentional or not. The figures and their work could symbolize exploitation but may simply reflect social structure. Do we see the masons' perspective represented or valued beyond their technical skill? What does this commission tell us about access to artistic expression? Editor: That makes me think about how art has historically been a tool of the powerful. How the wealthy got to commission art versus how most people were never represented, or only represented as a means to someone else’s goals. Curator: Precisely. This image encourages a broader conversation on the politics of art and representation. What narratives are being centered, and whose stories are silenced in the process? Are those historical dynamics still relevant today? Editor: This artwork is doing more than depicting the process; it's revealing these subtle yet critical class structures and their impact on visibility in art history. Thanks for this insight! Curator: Indeed! Analyzing these power structures is essential to interpreting not only this work, but also for the social forces still impacting what art gets made and seen today.