Triumph of Christ (A-H) c. 19th century

Editor: Here we have Robert Theer's "Triumph of Christ." It's hard to pin down the exact medium without more information, but it looks like an engraving. I'm struck by the level of detail. How would you interpret the choices made in its production? Curator: Focus on the "how" is key here. Consider the engraver's labor: each line, a deliberate mark. What does this process tell us about the piece's value versus, say, a painting? How does the reproducibility of an engraving affect its social impact and consumption? Editor: So you're thinking about it as a product of labor and a means of distribution? Curator: Precisely. Theer’s choice of engraving, its affordability and reach, speaks volumes about the intended audience and the message's accessibility. It prompts us to challenge the hierarchy between "high art" and the craft involved in printmaking. What are your thoughts? Editor: I hadn't considered it that way. It makes me think about the power dynamics inherent in art production. Curator: Exactly! Considering the material and its making illuminates the work in ways a purely symbolic reading might miss.