Funeral of the Grand Condé 1682 - 1692

Editor: Here we have Jean Berain's "Funeral of the Grand Condé," dating roughly from 1682 to 1692. It's an etching, currently residing in the Metropolitan Museum of Art. The sheer scale of the event depicted, even in this detailed drawing, is impressive. How do you see the importance of materials and process coming into play with this image? Curator: Consider the labor invested in both the actual funeral and the subsequent reproduction through printmaking. Etching allowed for the relatively widespread dissemination of images like this, turning grief into spectacle and solidifying Condé’s legacy but also reflecting the dominance of the monarchy through elaborate display. Note the use of line, the density conveying the opulence that becomes another character itself, almost. Editor: So, it's not just about commemorating a person but about projecting power through materiality? Curator: Precisely. Think of the etching process itself - the repetitive actions, the acid etching away at the metal, leaving an impression. This parallels the relentless construction of aristocratic image. Consider also the consumption of such images. Who was buying and viewing these prints, and what social function did they serve? The materiality feeds the machine. Editor: I hadn’t thought about it that way. The level of craft involved to create that impression – to *make* that event visible - is part of the spectacle too. Curator: It's a potent intersection of social practice and production, isn’t it? Line and space equating power. Editor: Absolutely. Looking at it from this perspective definitely shifts my understanding of its meaning and impact. Thank you! Curator: My pleasure. It's all about uncovering the layers embedded in the making and reception.