Ornamentele preekwijzer voor kerkbezoek in Leiden 1750s

Curator: So, let’s dive in. Editor: Here we have “Ornamentele preekwijzer voor kerkbezoek in Leiden,” a print from the 1750s by Noach van der (II) Meer, housed in the Rijksmuseum. It’s on paper, made using engraving. The detail is astonishing. What first strikes me is the intricate frame, and all that tiny text. What do you see in this piece? Curator: The material production is paramount here. Look closely at the engraved lines – the labor, the artisan's skill transferring text to the plate, creating a repeatable object. This isn't about high art; it’s about accessibility and mass communication. What social function did this serve? Editor: Ah, you're looking at its practical use. I guess it was some kind of schedule for church services? I see place names listed around the edges, like a guide. Curator: Precisely. This piece operates on two levels: the information it provides, a schedule dictating labour and adherence to specific religious spaces on given dates; and the means of distribution, enabled by reproducible engraving techniques, extending the control that this schedule enforced onto the population. Consider the labour of printing and circulating versus the act of communal, regimented labour imposed on the citizens of Leiden. Do you follow me? Editor: Yes, I do. I see now it’s not just decorative. The method – printmaking – makes the message much more powerful because it can be widely distributed. That really shifts how I think about Baroque art. It is fascinating. Thanks for showing me a different perspective. Curator: Indeed, examining the processes and materials opens our eyes to the economic and social underpinnings of art and its creation in historical contexts. A very good exploration for today, indeed.