Graflegging van Christus 1500 - 1520

Editor: This is Nicoletto da Modena’s "Entombment of Christ," made between 1500 and 1520. It’s an engraving, a print made with ink. It feels very crowded and stark to me, but I’m curious about its textures. What stands out to you? Curator: The starkness you mention stems directly from the production. This wasn't painting; this was *engraving.* The very act of cutting into the metal plate to create this image speaks to the dissemination of religious iconography in a changing social landscape. This isn't a unique object made for a wealthy patron. These prints meant easier and cheaper access. What does that suggest to you about its potential audience? Editor: That's interesting! It probably wasn't meant just for the wealthy elite, right? It’s like they’re mass-producing grief, in a way? The production is tied to cultural needs. Curator: Precisely! Consider the labor involved. The engraver's skill was now a commodity, churning out these images. And look at the background - almost like a woodcut, deliberately rough. What statement could the material quality and process make? Editor: Maybe... maybe the artist is intentionally showing the means of production to suggest this somber event still has a purpose in a capitalist system? It's supposed to serve a role, instead of simply being. Curator: Yes! It pulls back the curtain, making us conscious of not just *what* is being depicted but *how* and *why*. It’s almost a proto-Brechtian alienation effect. It forces us to confront the material realities that underscore even these most profound of spiritual subjects. Editor: Wow, I never thought about prints having that level of... self-awareness, almost! I'll definitely look at engravings differently now. Thanks. Curator: Likewise. Paying attention to material processes always enriches our experience.