Mars seated on his Trophies 1537 - 1550

Editor: This engraving, "Mars Seated on his Trophies," created sometime between 1537 and 1550 by Léon Davent, feels so incredibly detailed for its time. I’m struck by how the artist managed to capture the texture of the armor and the fabric with such fine lines. What do you make of it? Curator: Considering this piece from a materialist perspective, I’m fascinated by the process itself. Think about the labor involved in creating an engraving like this, the skill needed to manipulate the tools to achieve this level of detail, and then consider the role of printmaking in disseminating images and ideas during the Renaissance. Editor: That's interesting; I hadn’t thought about it in terms of labor. How did the printing process affect the audience? Curator: Exactly. Before printmaking, visual representations were largely limited to the elite. Engravings made art and information accessible to a wider audience, impacting the flow of knowledge and potentially shifting power dynamics. The materiality of the print – the paper, the ink – connects directly to its social function. Did Davent create this himself or was part of a bottega (workshop)? Editor: I see, so it is not only about the Roman god Mars, it is about the process. Looking at it that way makes me consider what choices Davent had with his materials. Is this paper choice significant at all? Curator: Possibly. Studying the paper, the ink, and even the wear and tear on existing copies could tell us about its production, distribution, and consumption. Even the "mistakes" in the print may indicate how the artist dealt with material constraints. I wonder if anyone has examined the provenance? Editor: That definitely gives me a new appreciation for engravings. So much history embedded in the process itself. Curator: Indeed, by examining the materiality of art we find new paths for investigation, like challenging the divide between art and craft.