The Entombment 1830

Editor: This is Philipp Veit’s “The Entombment,” made around 1830. It's a drawing rendered in pencil, currently housed at the Met. What strikes me is the composition. The figures are almost bas-relief, carved in pencil strokes... What can you tell us about it? Curator: I see a study in the meticulous rendering of fabric. Look at the way the linen drapes, how it becomes almost sculptural in its depiction of grief and reverence. What kind of labor would you say went into producing these lines? How does the mass production of printed images change its status and the way its materials are valued? Editor: That's interesting! It does seem incredibly detailed, considering it's 'just' a drawing. So you’re saying the sheer amount of labor contributes to its value? Curator: Exactly! And think about the availability of materials – pencils, paper – at this time. Who had access to them, and what did that say about the artist's position in society? Further, we see references to Renaissance art here; a deliberate engagement with past artistic labor. What choices are made in the materials and process, and how are they socially and historically informed? Editor: It makes me rethink the whole piece! It's easy to just see a religious scene, but you've pointed out a story of production tied to both artistic skill and the society that supports it. Curator: And a market for the image. Who was intended to view this, and what form would this take through the consumption of printed copies, informing religious practices or social behaviours, potentially tied to political and class-oriented purposes? Editor: Thanks for that perspective. It brings a new layer to this rather traditional scene. Curator: Precisely! Art isn't created in a vacuum, and understanding the materials and conditions of its production gives us a richer understanding of its meaning and impact.