Landskab med Ganymedes' bortførelse 1565 - 1607

Curator: This etching, made by Jan Saenredam sometime between 1565 and 1607, is called "Landscape with the Abduction of Ganymede." Editor: It's bleakly charming! The spindly trees and humble houses create a wistful mood; is this a portrait of the working class? Curator: It is more likely that Saenredam sought to glorify the mundane and to elevate pastoral life. Note that mythological touch—Ganymede being carried off. The composition reminds me of those picturesque Netherlandish landscapes that were particularly in demand with collectors from the area during the late 16th century. Editor: Look how the burin follows the contours of those trees! See their sturdy boughs. Saenredam's labor mirrors that of the landscape itself; each element reflects labor. Is he imbuing his engraving work with the virtue of physical labor? Curator: In some ways, printmaking and the increased circulation of imagery granted power to both the artist and to new, more diverse audiences for art. We see new forms of visual propaganda emerging around the time, though it may be too on the nose to call Saenredam a propagandist of peasant life. Editor: How revolutionary! A peasant-focused message propagated by a relatively inexpensive print! The materiality facilitates dissemination. A drawing would be exclusive, but this artwork exists for a much broader viewership. I like it more and more. Curator: Indeed. And in thinking about labor, the viewer is called on to examine and reflect upon the value systems and modes of representation, here. And who does this artwork serve in the end? That question, of course, still animates discussion surrounding such images today. Editor: Well, considering how this exploration makes me ponder the relationship between labor, class, and imagery, I suppose it serves as a successful piece of social commentary, regardless of its initial intent. It’s all about what work this object is still able to do.