Titelprent voor 'De gelukte list of Bedrooge mof: blyspel' van Andries Pels 1702

Editor: Here we have Romeyn de Hooghe's 1702 engraving, "Titelprent voor 'De gelukte list of Bedrooge mof: blyspel' van Andries Pels," housed at the Rijksmuseum. It looks like a bustling street scene with many figures and ornate buildings. How would you interpret this piece, focusing on its material aspects? Curator: Let’s consider the socio-economic factors involved in producing an engraving like this. The very act of creating and disseminating printed imagery involved a complex network of laborers—from the artist designing the image to the artisans preparing the printing plates and running the printing press. It also depended on an eager consuming class interested in purchasing these images. Editor: So the materials and the labor are equally important in our understanding? Curator: Precisely. Consider the paper itself, likely made from rags, a recycled material given new value through the printing process. The engraving technique also suggests a certain level of skill and access to specialized tools and knowledge. We should examine its role as both a decorative object and a form of early mass media. This image hints at the commercialization of art. How do you view the contrast of this reproducible, relatively inexpensive material against other luxury artistic media of that time, such as oil on canvas or sculpture? Editor: I see how this piece speaks volumes about resourcefulness in artistic practices and consumption in the Baroque era, far beyond the scene itself. Curator: Absolutely. It reframes our understanding of Baroque art by looking beyond the traditionally celebrated artworks and their wealthy patrons. By studying its materials and creation, this engraving sheds light on a different sphere of cultural and economic activity.