Dance of Death III 1562

Editor: Here we have Allaert Claesz.'s "Dance of Death III," created around 1562 as a print. It strikes me as incredibly detailed for its size, and the figures are so richly adorned, even Death himself! What can you tell me about this piece? Curator: As a materialist, I am fascinated by the labor and resources required for its production. Consider the engraver meticulously carving the image onto a metal plate, a skill acquired through rigorous training and supported by a complex economic system. The print itself, a multiple, makes art accessible beyond the elite, democratizing, to some extent, the powerful message of the *memento mori.* What do you observe about the subjects' clothing and adornments? Editor: Well, they’re lavish! The man’s feathered hat, the woman’s jewelry, the fine fabrics… they scream wealth and status. Even Death has a cloak. Curator: Exactly. But what does that material excess tell us about 16th-century Dutch society? Wealth, yes, but also a burgeoning mercantile culture and anxieties surrounding earthly possessions. Notice how Death undermines these symbols of status. He's a great leveler, highlighting the ultimate futility of material wealth. How do you see the print functioning as a commodity itself within this context? Editor: I guess it's a paradox. It’s about the transience of earthly things, yet it’s a tangible object someone purchased and kept. So, in a way, it’s also a form of... collecting death? A warning they wanted to keep close? Curator: Precisely! It exposes a culture grappling with both spiritual and material concerns. The print, as a product of skilled labor and trade, embodies this tension perfectly. Editor: I never considered it from that angle! Seeing the labor and the economics behind it really adds another layer of meaning. Curator: Indeed. By focusing on the materials and their circulation, we can unpack a richer understanding of the work’s historical context and its engagement with prevailing societal values.