Nemo Second 

Editor: Here we have "Nemo Second," attributed to Edouard Riou, an intriguing piece executed with what appears to be pencil and charcoal on toned paper. It's got this distinct 19th-century illustrative style, like an old engraving. I'm really drawn to the level of detail achieved with such seemingly simple materials. What strikes you about it? Curator: Considering its apparent use of pencil and charcoal, let’s examine the materiality of its creation. The "old engraving style," as you put it, points to a process of careful labor, mimicking the precision of engraving through cheaper, more accessible means. Who would have consumed this image, and how does its existence comment on the means of its own reproduction and distribution? Editor: That's a good point. The accessibility of the materials allowed for wider distribution. So, you’re saying the medium itself is speaking to the socio-economic context? Curator: Exactly. Notice how the drawing gives the impression of detail through layering and hatching. It speaks to the time and effort involved, while ultimately being reproducible. We can think about it as labor made visible. Were these mass produced prints? To what social classes were they marketed? Editor: So the choice of relatively inexpensive media reflects both the desire for realism and the practicality of wider distribution... Interesting! I guess I was so caught up in the aesthetics, I missed the socioeconomic angle. Curator: Don't discount the aesthetic! The "toned paper" isn't a neutral surface; it allows for a different range of values and quicker completion than starting on white paper. Consider that within the processes, too! The artist's choice of this support changes the efficiency and cost of creating many copies. Editor: Okay, that makes a lot of sense. I’ll definitely be thinking more about materials and production moving forward. Thanks! Curator: And I will think more about the beauty of illustration! It is nice to view art together.