Churchgoer with a Light c. 1917

Editor: This is Otto Lange's "Churchgoer with a Light," a print made around 1917. The sharp angles and somewhat unsettling colors give it an eerie feel, despite the light. How do you interpret this work? Curator: The work's power lies in its materiality. The printmaking process itself, the labour involved in carving the blocks, and the social context of its creation – Germany during the First World War – all contribute to its meaning. Look at the raw texture and bold colors, likely achieved through woodcut. This wasn't just about depicting a religious scene. Editor: So you're saying the *way* it's made is as important as what it depicts? Curator: Exactly. Consider the materials. Cheap paper, readily available pigments. These weren't luxurious items commissioned by a wealthy patron. This image would have been circulated widely, possibly as a political statement or social commentary on faith amidst crisis. Editor: That makes sense. The colors seem almost violently applied. Was Expressionism commonly used this way, as social critique? Curator: In many instances, yes. Artists embraced the readily available materials to bypass established systems and convey their own messaging, not necessarily beholden to artistic technique. How might the availability, cost, and circulation of prints versus paintings impact Otto Lange’s social reach and messaging at the time? Editor: Wow, I never thought about art being so… practical! It’s less about the image and more about the statement being produced by cheap production methods. Thank you, that’s a fascinating new perspective. Curator: Exactly! Thinking about art as a material product tied to its social context opens up many new perspectives.