Tobias en de engel c. 1627 - 1650

Editor: Here we have "Tobias and the Angel," a silver relief likely dating between 1627 and 1650, by Matthäus Merian the Elder. It's surprisingly intricate, with so much detail packed into a relatively small, circular space. What stands out to you about this particular rendering of the story? Curator: Well, let's think about silver as a material here. The high polish creates intense reflections, so the light would animate the figures in a specific way within a domestic interior, for whom was this crafted? That informs the reception. We should also consider Merian’s means of production. Engraving allowed for replicable images, distributed and consumed broadly. So, is this a unique, precious object, or one speaking to a larger demand for such religious narratives? Editor: That’s a good point. I hadn't considered the interplay between the 'high art' material and potential reproduction. How does that impact our understanding of the work's purpose? Curator: It blurs those boundaries, doesn't it? The choice of silver suggests luxury, a certain class engaging with these themes, yet the engraving, possibly destined for wider distribution in another format, hints at accessibility. The artistry isn't just in the design, but also the social dance it performs between exclusivity and broader reach. Was Merian in charge of the complete production? That could point at their specific socio-economic class and aspirations at the time. Editor: So, it’s about examining the forces – the patronage, the workshop, the market – that shaped this object? Curator: Exactly. The material choices and potential means of reproduction all tell us something about the labor, the intended audience, and the very definition of “art” during that period. Editor: I see it now, a complex dialogue between art, craft, and commerce all captured in this single piece! Thanks, this gives me much to think about.