Hert before 1650

Editor: Here we have Antonio Tempesta’s engraving, "Hert," made before 1650. The detail achieved with just engraved lines is incredible. What strikes me most is how deliberately the animal is presented. How would you approach this artwork? Curator: We should begin with the materiality of printmaking. Consider the socioeconomic status of someone owning a print like this; what level of craftmanship are they willing to purchase for such an image? Then, think about the cost of paper at the time, and how these details impact the distribution, use and consumption of images like these. Editor: That's interesting. So, it's not just about the image, but also the paper, the ink, the printing press. Is the type of engraving related to this process? Curator: Precisely. The labour involved is significant. An engraving such as this involves technical skill in draftsmanship, familiarity with the metal plate, acid etching, and printing. Given the level of craft, where might such images have been distributed and sold? To whom, and for what price? Considering it a print opens discussions about mass production and circulation of images within period social classes. Editor: I see your point. Considering the labour makes me wonder who made the paper too, and how they impacted this work. Curator: Exactly. The supply chain determines who benefits and suffers through its production. Without such discussion, it is merely an image of a deer and not a product embedded within specific labour practices. This challenges the traditional notion of authorship and appreciation. Editor: It does change the perspective from simply admiring the image to questioning the conditions of its creation. Thanks!