Onbetrouwbaarheid van de Spanjaarden tijdens de vredesonderhandelingen te Middelburg by Anonymous

Onbetrouwbaarheid van de Spanjaarden tijdens de vredesonderhandelingen te Middelburg 1596

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carving, metal, relief, sculpture

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carving

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dutch-golden-age

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metal

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sculpture

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relief

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11_renaissance

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sculpture

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carved

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history-painting

Dimensions: diameter 2.9 cm, weight 5.66 gr

Copyright: Rijks Museum: Open Domain

Editor: Here we have "Onbetrouwbaarheid van de Spanjaarden tijdens de vredesonderhandelingen te Middelburg," made in 1596 by an anonymous artist. It's a metal carving depicting a historical event, almost like a coin. What strikes me is how the material itself – the cold, hard metal – contrasts with the delicate details of the carving. How do you interpret this work, looking beyond just the scene it depicts? Curator: Well, for me, this object speaks volumes about production and social context. Look closely. The fact that it's made from metal, likely in multiples, suggests a system of dissemination and, perhaps, propaganda. We need to consider the means of production – who was carving these, and why? This wasn’t fine art meant for a wealthy patron. It was produced, distributed, and presumably consumed by a broader populace. Editor: That's interesting. So, the material implies a purpose beyond aesthetics. The repetition allowed for a message to spread widely. Curator: Exactly! Consider the 'hole' in the coin as well. Is this for wearing? A display of political views as jewelry maybe? And what are they producing? Are they selling rebellion to others? Editor: I hadn't thought of it that way. So, the act of creating these carvings becomes a form of resistance itself, not just a representation of it. Curator: Precisely. And it challenges the traditional notion of 'art' being detached from labor and political intent. This object embodies the intersection of craft, mass production, and social commentary. Think of it as a protest banner made of metal! Editor: I see it differently now. It's not just about the image, but the act of making it, distributing it, and how it becomes a tangible expression of dissent. Curator: Indeed, material speaks, not just of what something is but also of how it was made, by whom and for whom! A new lens through which to analyze the period. Editor: Thanks, I’ve got a new way of seeing it now, the carving method in metal really drives home its message.

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