Heilige Antonius de Grote met taukruis en varken 1510 - 1520

Editor: This engraving, "Saint Anthony the Great with Tau Cross and Pig," made between 1510 and 1520 by Nicoletto da Modena, is quite striking. The level of detail achieved with such a seemingly simple medium is impressive. What stands out to you about this print? Curator: What interests me immediately is the materiality and production of this print. Think about the labour involved in engraving, the crafting of the tools themselves, the artisanal skills that connect this to traditions outside of what we now call "fine art". The pig, for instance. Its depiction signifies not only St. Anthony's association but also the tangible connection to agriculture, animal husbandry – basic, material existence. Where do you see the artist making choices that connect or disconnect to everyday life of the time? Editor: Well, the detailed background, showing both a town and a rural scene with someone on horseback, seems to place the saint in a very real, accessible world. But the halo and the crumbling architecture feel symbolic, separating him. Does that make sense? Curator: Absolutely. The architectural ruins, though seemingly decorative, also speak volumes about labor, and the transformation of resources. Someone quarried that stone, shaped it, and erected a building that ultimately decayed. Even the “natural” background contains human labor – the horse and rider represent a certain class structure, land ownership. Can you think of a contrasting figure that highlights social dynamics of the time? Editor: So everything, even the setting, underscores these issues of labor and social standing. Fascinating. It’s almost a commentary on the physical and societal structures that surround even a holy figure. I thought it was just an interesting composition but it feels much deeper. Curator: Indeed. Understanding art through its means of production opens a vast, interconnected web.