Heilige Arnulf 1515 - 1550

Editor: So this is "Heilige Arnulf" by Albrecht Dürer, dating from between 1515 and 1550. It’s an engraving, currently held in the Rijksmuseum. There’s a certain austerity to the figure, but the textures in the clothing look quite ornate. What stands out to you? Curator: Let's consider this engraving in relation to its production. Engravings like this weren't just aesthetic objects; they were commodities. Dürer wasn’t just creating art; he was participating in a market, reproducing and disseminating imagery. What was the labor involved in producing multiple prints from a single plate? Editor: So you're saying it’s less about the "divine" and more about the physical act of creating and distributing these images? Curator: Precisely. How does the act of engraving—a process involving tools, skill, and time—democratize religious iconography, making it accessible to a wider audience beyond the wealthy who could afford paintings? It is a sort of labor, wouldn't you agree? What social impact might this widespread availability of religious images have had? Editor: That’s fascinating. I never really thought about the accessibility aspect so directly linked to the medium itself. It was about spreading images far and wide to the common folk. Curator: Exactly. It moves art history away from idealised genius toward an engagement with the real-world systems of labor, production, and consumption. And that elaborate detail becomes not just a matter of aesthetic refinement, but the result of skilled artisanship employed in the service of replication and market demands. Editor: This completely changes my perception. Now when I look at Dürer, I appreciate the mastery over the materials, but I also see the mechanics behind making this accessible and available to a broad population. Thank you!