Mirakuleus beeld van O.-L.-V. te Scherpenheuvel / Image miraculeuse de N.-D., à Montaigu / Den Godzaligen Huyszegen / La bénédiction du Ménage 1827 - 1894

Editor: This is a print called "Mirakuleus beeld van O.-L.-V. te Scherpenheuvel," created sometime between 1827 and 1894. It's an engraving, so I’m immediately drawn to the mechanical reproduction aspect and how that makes religious imagery accessible. What do you see in this piece? Curator: The layering of religious symbolism and textual dissemination here, for me, signals an intriguing use of printed matter in the service of religious instruction and devotion. Think about the workshops producing these prints. What materials are being used? Are they high quality, or are they readily available and cheap? Editor: That's interesting. So, rather than focusing on the image itself, you’re more interested in how it was produced and consumed? Curator: Precisely! The engraving process itself is a key element. Its accessibility indicates its use as possibly ephemera for mass consumption; maybe as an easily distributable, less precious, method of illustrating and reinforcing faith for a broader audience. Does the choice of an engraving, and not painting for example, change the message? Editor: It definitely feels more democratic. A painted version would feel more high-art, more removed. I never really considered the social context of the production methods, or how accessible these prints are for devotional use. Curator: Right! How does this affect the reception and impact of the images for a broader population, shifting away from unique, sacred objects only enjoyed by elites? Editor: I now have a deeper appreciation for prints and a great interest to learn more about printmaking in art history! Thanks! Curator: Likewise! Thinking about the material conditions and broader context really enhances our understanding, doesn’t it?