Franse haan tegenover Spaanse raaf 1585 - 1628

Curator: Editor: So, here we have "French Rooster Facing Spanish Raven," a print by Jan Ziarnko, dating sometime between 1585 and 1628. The birds themselves seem to be in an aggressive posture, even regal, and the landscape looks really far in the distance. I wonder, what story do you think it's telling? Curator: The story lies within its materiality, in how these humble materials – paper and ink – become vehicles for potent political messaging. The print, as a readily reproducible medium, speaks volumes about the circulation of propaganda during the religious wars. Look at the line work. See how the meticulous hatching builds texture and volume, effectively creating two powerful opposing icons? Editor: You mean, it's less about the literal depiction and more about… the printing itself? How many of these prints could have been made? Curator: Exactly. Consider the labor involved in the engraving process, the skilled artisan meticulously etching lines into a copper plate. And the crowns. Notice the placement. Ask yourself, who controlled the means of disseminating these images, and whose interests were they serving? The content speaks for itself, but so does its wide accessibility and distribution, thus its potential consumption by diverse audiences across Europe, fostering national sentiments. Editor: Ah, I see! So, it's not just about France versus Spain. It is about production and accessibility. Who *could* see it and where? And whose message were they consuming through this printmaking *process*. Curator: Precisely. By shifting our focus to the materials and the processes involved, we unlock a richer understanding of the artwork’s role in shaping public opinion and fueling social divisions during that turbulent era. Editor: Thanks! Looking at art from a materials perspective makes the whole historical period easier to relate to. Curator: Indeed. It grounds the high ideals of the Renaissance in the gritty reality of material existence.