Maria 1864 - 1911

Editor: Here we have Frans Lauwers' "Maria," an engraving, likely created between 1864 and 1911. It's a classic Madonna portrait, really quite beautiful in its simplicity. What strikes you when you look at this print? Curator: What I see are layers of labour and value embedded within a seemingly simple image. Engravings like this, while striving to emulate painting, democratized art production and consumption. Consider the engraver's craft – the time, the skill, the industrial processes required to create multiple reproductions. It’s not just an image; it's evidence of a whole social and economic system. Editor: That's interesting, I hadn’t thought about the social aspect. I was more focused on it being a religious artwork with clear art historical references. Curator: Exactly. The ‘aura’ traditionally associated with unique artworks, especially religious icons, becomes challenged through its reproduction and broader availability. What does it mean to reproduce an image of the Virgin Mary at a time when printmaking technology became a profitable trade? Was this meant for the masses? For religious purposes or something else? Editor: So, you’re saying the material process actually influences its spiritual meaning? Curator: Absolutely! Think about it. The physical act of carving and printing transforms the image from a sacred, unique object to a mass-produced commodity. The economics and technology shape its accessibility and, therefore, its perceived value and role in society. What new interpretations arise from this democratization of imagery? Editor: I never thought of it that way. It makes me consider who could afford it and how widely it circulated at the time. Thanks for that insightful look! Curator: It reveals the interconnectedness between artistic expression, material reality, and social forces. There’s always a story of labour, economy and societal influence within an artwork.