Jonkvrouw buigt zich over een gewonde ridder 1864 - 1909

This print, made by Jean-Baptiste Anthony, would have been made using a metal plate, likely copper or zinc. The artist would have painstakingly etched the image into the metal with acid, before inking the plate and running it through a press. The fine lines and subtle gradations of tone are a testament to Anthony's skill as a printmaker. Note how the texture of the paper itself becomes part of the artwork, adding depth and dimension. The image itself depicts a noblewoman tending to a wounded knight. The social context here is one of chivalry and courtly love. But there’s a contradiction, because the printmaking process itself was becoming increasingly democratized in the 19th century, allowing for wider dissemination of images beyond the aristocratic class. So, we can see this print not just as a romantic scene, but also as a product of its time, reflecting the changing social and economic landscape of Europe. The artwork challenges the traditional distinctions between fine art and craft, by making the romantic scene accessible.