Muziekleraar 1733 - 1792

Curator: This print is called *Muziekleraar*, or *The Music Teacher*. It comes to us from between 1733 and 1792 and is the work of Jean Baptiste Guélard. Editor: It's a bit strange, isn't it? The figures have a dreamlike quality. Almost like something out of a fable, all rendered in this fine, detailed engraving style. What catches your eye first? Curator: Well, undeniably it is the curious, anthropomorphic scene, with a feline figure seemingly instructing two seated cats. Editor: Right! The material of printmaking lends itself perfectly to satire like this. The ability to reproduce and disseminate these images would have offered a wider commentary on class, taste, and cultural norms of the time. Imagine the conversations this would have sparked. Curator: I see the violin slung over his back. This instructor clearly identifies with the revered image of the musician, his social status affirmed through recognizable garb. Perhaps it’s poking fun at the era's obsession with appearances. Editor: And the way he's holding the baton – like an extension of himself. It’s interesting that the artist is able to bring our attention to the gestures and posture, despite the strange combination of human and animal anatomy. Look at the clothing: what material would that be, who produced that, and who consumes this image? Curator: Exactly, what traditions and behaviours are being mocked or supported? Fables using animals, even in ancient cultures, often carried lessons in how to act, but also how NOT to act. Here, the clothing and baton may be symbols of elevated status, ripe for ironic representation. Editor: These materials place the scene in a tangible context. And don't overlook the skill needed for engraving in the Baroque style—the technical labor alone speaks volumes about craft, not just in artmaking, but also class distinctions implied in its subjects and consumption of the print. Curator: Agreed. Thinking of lasting symbolic significance through form—it presents a thought-provoking lens through which to understand the art world and our evolving understanding of society. Editor: It's fascinating to consider the convergence of labour, materials, class critique, and animal metaphor that is packed into this unassuming print!