Marmeren sculpturen in de Onze-Lieve-Vrouwekathedraal te Antwerpen en in de Onze-Lieve-Vrouwekerk te Kortrijk before 1889

Editor: This image depicts marble sculptures from before 1889, located in cathedrals in Antwerp and Kortrijk. The texture of the marble and the detail in the drapery are what strike me initially. What stands out to you? Curator: The sculptures' materiality immediately draws my attention. Look at the labour involved in quarrying and shaping this marble. How did the specific social conditions enable such large-scale projects of faith and display? Consider also the journey of the raw material from quarry to cathedral workshop. Editor: That's a fascinating point. I hadn't considered the practical side. Do you think the choice of marble held any significance beyond its visual appeal? Curator: Absolutely. Marble signifies wealth, permanence, and power. Its import and crafting were controlled by guilds and patrons. It suggests a community's investment and consumption. Consider the relationship between religious patronage, artistic production, and societal values at that time. Editor: So, the sculptures aren't just religious icons, but also products of a specific material culture? Curator: Precisely. And this photograph flattens the physical experience; we lose a sense of the sheer scale and the haptic encounter with cold, smooth marble. Editor: It changes my perception entirely. I now see these sculptures as evidence of elaborate production and economic factors at play during their creation. Thanks for shedding some light on this aspect! Curator: Indeed. Examining the material reality deepens our understanding and reveals how entwined art is with the very fabric of society.