Titelprent: zittende figuur 1732 - 1740

Curator: This is "Titelprent: zittende figuur," or Title page: Seated Figure, an engraving by Jacques Philippe Le Bas, dating from about 1732 to 1740. It's a delicate work on paper, held at the Rijksmuseum. Editor: Yes, I'm struck by the figure's ambiguous expression and the flowing lines. It seems simple, almost a sketch, yet it holds my attention. What's your take on this piece, looking at it today? Curator: From a materialist perspective, it’s fascinating to consider the labour involved in its production. Engraving in the 18th century was highly skilled work. How does the choice of engraving, as a repeatable medium, speak to the intended audience and the distribution of imagery in that era? Consider also, what kind of labour was involved in preparing the paper? Editor: That’s interesting! I hadn’t really thought about the paper itself, or the time to create the plate. It’s not just about the artist's hand then, but all these other workers… Curator: Exactly. And the intended purpose—a title page, indicating it's connected to a larger printed collection. How does its function as an introduction affect how we view it as a piece of art in itself? Does its mass reproducibility change how we perceive its value compared to unique works? Editor: That really shifts my understanding. It makes me think about the accessibility of art through printmaking and how this specific print might have functioned within broader systems of patronage and consumption at the time. It wasn't created in a vacuum! Curator: Precisely. Thinking about who had access to printed materials at that time also adds another layer, doesn't it? Editor: It does. It highlights how artworks are not just objects, but products of specific social and economic conditions. I'm starting to see art as less of a unique isolated entity and more of an end result within a much wider series of industrial actions and outputs. Curator: Indeed, examining its materiality opens a doorway into the past.