Sibille van Cumae 1615

Simon van de Passe created this engraving of the Sibyl of Cumae in the early 17th century. As an engraving, it began with a metal plate, likely copper, into which the design was incised. This was skilled, meticulous work; the density of lines determined the areas of light and shadow. Consider how the very act of engraving—a process of controlled removal—mirrors the Sibyl's role as a conduit between worlds. Each line carefully carved carries weight, implying a sense of permanence. The image could then be reproduced, and disseminated widely through printmaking. The nature of engraving itself is a meditation on labor and reproducibility. Though van de Passe was undoubtedly a master of his craft, the engraving process allowed for the mass production of his image. This print culture made art more accessible, but also created a very different kind of art object; more accessible, less precious. Recognizing these materials and methods allows us to move past traditional art history. We can see the ways in which this artwork participates in broader social and economic systems, including labor and consumption.