The Penitence of Saint Peter 1675 - 1700

Editor: So, here we have "The Penitence of Saint Peter," an engraving from between 1675 and 1700, after a painting by Jusepe de Ribera. It's currently at the Met. There’s such a stark contrast between light and shadow, almost theatrical. What do you make of it? Curator: For me, it's about understanding the conditions that led to the production of this image. Consider the engraving process itself: the labor involved in meticulously transferring an image onto a copper plate, the skill required to create those fine lines and tonal variations. This wasn’t just about artistic inspiration, it was about craftsmanship and technique being valued. Editor: Interesting! So, the ‘how’ it was made is as important as the ‘why’? Curator: Precisely. And consider the social context. Prints like these were often produced for wider consumption, making art accessible beyond the elite. So, how does the mass production and distribution of such an emotionally charged image, portraying penitence, influence its meaning? Editor: I see what you mean. It moves the emphasis away from just religious devotion and focuses more on the mechanics of making art accessible to more people, like early mass media! Curator: Exactly. The Baroque loved drama, but it was channeled and spread through new methods. What impact do you think that had on audiences and society at the time? The way it was received? Editor: That's something I'll definitely have to think more about, especially considering the distribution networks in place at the time. Thanks for that! Curator: My pleasure. Thinking about art through its production reveals a lot about the society it came from, from labor practices to the economics of image making.