Wonderbare visvangst 1665 - 1733

Editor: This engraving, titled "Wonderbare visvangst" or "Miraculous catch of fish", created between 1665 and 1733 and printed by Simon Thomassin, really draws me in. It depicts a scene of people in boats and others on the shore. What I find intriguing is how the material—an engraving—influences our perception of this historical or biblical moment. How do you interpret this work, keeping in mind its production? Curator: Considering Thomassin's "Wonderbare visvangst" from a materialist perspective, it's crucial to think about engraving itself as a process of reproduction. It's not just about the image; it's about the accessibility and dissemination of that image. Who was this engraving intended for, and how did its material form facilitate that purpose? Was this a tool for religious instruction for a wider, less affluent audience perhaps? Editor: That’s an interesting point. So the choice of engraving makes the image more widely available? Curator: Precisely! Engravings are inherently reproducible. It is the labor involved in making it accessible that also interests me. The physicality of engraving on a metal plate to create multiple identical images makes me think about the societal value placed on craftsmanship versus other forms of art during this period. This image isn’t unique. Editor: So, instead of just seeing a historical or religious scene, we're really looking at the means of production and its cultural impact at the time. Curator: Exactly! We need to look at art with a materialist approach that makes us question how artistic creations, such as Simon Thomassin’s engraving, reflected society’s structures and beliefs. In essence, this approach invites us to reflect on what art embodies beyond its visual qualities. Editor: That's a really insightful way to look at art! It encourages you to delve so much deeper into not just what the artist created, but the “how” and the “why.”