Triumphal arch covered in foliage with mounted troops below, a temporary decoration for the entry of Pope Clement VIII in Bologna in 1598 1599

Editor: This engraving by Guido Reni, created in 1599, depicts a triumphal arch covered in foliage. It almost looks like a stage set. How should we understand the materiality of such an ephemeral structure, considering it was a temporary decoration? Curator: Exactly! Let's think about what goes into these temporary structures. Consider the labor required to construct it. What kind of access to material resources did it imply, and what kind of resources were on display? How does the print form relate to that? The print itself transforms a fleeting moment of public spectacle into a reproducible object, a commodity to be distributed. Editor: So, the print memorializes the event but also, in a way, turns the celebratory arch into something that can be bought and sold. But, did the foliage have some specific value for viewers back then? Curator: Yes, foliage suggests a quick and renewable supply, in contrast to using marble for a triumphal arch. What statements were the producers making, therefore? The abundance and cost-effectiveness of materials used for temporary structures, and how such structures impacted surrounding land, were certainly conversation starters at the time. Furthermore, what’s more interesting is what wasn’t memorialized: how quickly would those celebrations fall apart and become discarded? Editor: That's fascinating! I never thought about it in terms of resources and the means of production. Curator: It's crucial to consider how the value of the artwork extends beyond the artist's hand to the materials themselves, the labor involved, and the social implications of both its creation and its destruction. By shifting the focus from the artist's intention to production processes, we question hierarchies in art history. Editor: That really changes how I see this piece. I’m much more aware of its connection to economic and social structures now, something I hadn't appreciated initially. Curator: And that is how materials create the art, rather than merely supporting it.