Overzicht van de verschillende raden in Spanje, ca. 1705 1703 - 1705

Editor: This print, “Overzicht van de verschillende raden in Spanje, ca. 1705”, is attributed to an anonymous artist and is an engraving. All of these little scenes seem to depict councils and administrative activities... What stands out to you? Curator: I am interested in how the artist renders power through the *process* of engraving itself. Think about the labor involved – the meticulous carving into the plate, the repeated pressing, the wide distribution of these prints. This isn't just a representation of governance; it's a mass-produced object meant to *convey* a sense of overarching, systematized power. Do you see how that impacts the overall message? Editor: Yes, I hadn't thought about that! The medium itself amplifies the feeling of control and widespread reach of the Spanish councils... Almost like propaganda? Curator: Precisely! Now, consider the materials themselves. Engraving is traditionally associated with technical drawing and scientific illustration. Using this *same* technique to portray the councils lends an aura of rationality and order. Can we separate that sense of manufactured “order” from the realities of 18th century Spanish politics and their colonies? What are some possible disruptions to that proposed, intended order? Editor: I suppose that maybe social hierarchies aren’t fully represented? It's interesting to see how a print, seemingly about disseminating information, is so much more about shaping perceptions of power, or erasing inconvenient realities. Curator: Exactly. By focusing on the means of production – the engraving process, the materiality of the print – we unveil hidden layers of meaning about the work itself, but also more broadly concerning society. Editor: That makes so much sense. I never considered the material process to be such a strong narrative element! Curator: Paying attention to how art is *made* is a key to thinking critically about what art *means.*