Massacre of the Innocents n.d.

Editor: Here we have Pietro Dandini's "Massacre of the Innocents," an etching and ink drawing. The figures, rendered in delicate lines, depict a scene of violence. What strikes me is how the light seems to emphasize the physical struggle in the etching. How would you interpret this work? Curator: The focus on the process is key here. Think about the socio-economic conditions in which prints and drawings were produced. Dandini was a renowned painter but this very etching brings up questions regarding accessibility, artistic labor, and the market. Who was able to acquire this image, and how was its circulation impacting the wider understanding of such narratives? Editor: That's interesting, because I was initially thinking about the artistic skill to render the anatomy and express drama, but now I understand it goes far beyond a personal feat. Were these kind of prints popular? Curator: Yes, reproductive prints played a vital role in disseminating images and ideas, impacting both artistic styles and socio-political dialogues. What kind of consumer base sustained their production, and how was Dandini's authorship negotiated and defined through the reproductive labour carried out by printmakers? It really challenges conventional ideas regarding the artwork as self-contained artistic product. Editor: So, thinking about its material existence allows to think how prints could affect the consumption and understanding of the art of that period? Curator: Exactly. Examining Dandini’s Massacre as a product shaped by the materials and methods of reproduction forces to examine wider socio-economic networks within and around art. Editor: I’ve definitely learned to appreciate this etching beyond the subject matter, seeing it as a product tied to particular markets. Thank you for this fresh perspective!