Hulde door de katholieken aan Paus Pius IX 1871

Curator: Editor: So, this is “Hulde door de katholieken aan Paus Pius IX,” or "Homage by Catholics to Pope Pius IX", created by Wilhelmus Petrus van Geldorp in 1871, using pencil and charcoal. It’s quite a detailed drawing… Almost like a photograph. I am struck by its ambition in scale for a pencil and charcoal drawing, but how would you interpret this piece? Curator: Considering this work through a materialist lens, I immediately look to the context of its production. In 1871, the materials of art making were increasingly democratized through industrialization. Pencil and charcoal, relatively accessible, became powerful tools for disseminating imagery. Doesn't this suggest a strategic decision, to circulate this depiction of Catholic power widely through easily reproducible means? Editor: That's a fascinating point! I hadn't considered the implications of using readily available materials in that way. The drawing could have been more easily copied. Does the medium itself almost amplify the message? Curator: Precisely. And let's consider the labor involved. While van Geldorp’s hand skillfully renders the scene, the availability of these materials connects to a whole network of production – the graphite mines, the charcoal burners, the paper mills. The final artwork disguises the social labor that is inherently bound within its materiality. Can we therefore not ignore it? Editor: Absolutely, understanding the broader scope and work puts this piece in context. So, from my point of view, what you're highlighting is the power of accessible materials, their role in distribution, and how we must look beyond the artist to really assess art? Curator: Indeed! I would challenge viewers to reflect not just on the artistry, but also on the web of material and social relationships that brought this image into being. Editor: I see. Thank you. Thinking about it this way really changes my perception of this historical artwork!