Kirke i Italien 1745

Editor: Here we have Michael Fosie's "Kirke i Italien," made around 1745. It's a print, an etching really, showing a church in what I assume is Italy. The detail is fascinating! I'm struck by the everyday life included around the grand building; it almost feels like a snapshot. What draws your attention in this work? Curator: Well, let’s think about the "how" of this image. This is an etching, meaning the artist used acid to cut into a metal plate. The act of mass production here transforms the Roman landscape, making it a commodity. How do you think that affects our understanding of this depiction of Italy? Editor: That's interesting. So, instead of a unique painting, this print allows many people to have the same image. Does that democratize art, making it more accessible? Curator: Precisely! But also, consider the labor involved. Who created this plate? Who printed it? Where was it sold, and to whom? The image of the church becomes a product of those processes. Look at how Fosie renders the working people in the foreground. Do you notice anything specific? Editor: I see, like, a shepherd and what looks like local commerce. They feel almost disconnected from the grandeur of the church, juxtaposing the lives of everyday people with the Church's grand presence. Is that disconnect intentional, perhaps highlighting social strata? Curator: I would agree. Furthermore, prints such as this fuelled the Grand Tour industry. Aristocrats desired these scenes as travel keepsakes, proof of their elite experiences. The materiality of this etching tells the story of art consumption in the 18th century. Editor: I hadn't considered it as a commodity before, but understanding its production and audience really changes how I see the image, highlighting the societal dynamics of the time. Thank you! Curator: My pleasure! By examining the labor and distribution, we can unveil many socio-economic conditions encoded in the artistic print itself.