Heilige Antonius 1600 - 1620

Editor: We’re looking at "Heilige Antonius" by Justus Sadeler, dating from 1600 to 1620. It’s an engraving. There's so much detail! What do you see in this print, considering its creation and cultural place? Curator: The labor is evident. Consider the social context of printmaking at this time. Engravings like these weren't simply artistic expressions, but were commodities circulated within a developing market for images. Who commissioned this, who was the target audience, and how did the cost of the materials affect production decisions? Look at the consistent direction of each etched line suggesting intense labor invested by the artist to create a desirable object of spiritual reflection that could also serve practical needs for popular imagery. Editor: That’s fascinating. I hadn’t thought about the commercial aspect so much. How does the materiality influence our reading of the subject matter, St. Anthony? Curator: The choice of engraving impacts our perception. It lends a crisp, reproducible quality, signifying accessibility but also a level of standardization. This isn't a unique painting created through alchemical mixing and careful layering to produce singular art but a multiple; consider how this contrasts with traditional notions of saintly veneration often found in, say, unique altar pieces crafted using expensive lapis lazuli. Is this accessibility undermining the sanctity, democratizing devotion or expanding its reach in an emergent popular culture? What effect do you think such changes might have at that time? Editor: It gives it a wider appeal. It's a really different approach than seeing an altarpiece made of gold and jewels in a place you might not have access to! Thinking about this in terms of access and material changes everything. Thank you! Curator: Precisely! Thinking about materials brings us closer to understanding art as work, embedded in its own time. It helps us go beyond merely celebrating ‘genius’.