Jozef in de gevangenis 18th century

Editor: This intaglio drawing from the 18th century by Giovanni Volpato, titled "Jozef in de gevangenis," has a strangely ornate border for such a somber scene. The contrast between the medium and subject is really striking. What aspects stand out to you? Curator: The material execution, especially in an intaglio print like this, is what first grabs my attention. Think of the labour involved: engraving the plate, the specific paper used for the impression, the addition of watercolor. The artistic decision to employ intaglio, typically associated with high art printmaking for disseminating imagery, for what could almost be considered a popular religious image opens questions about artistic hierarchies in the 18th century. Why not simply use a less 'precious' technique? Editor: So the material elevates the subject? Curator: I wouldn't say "elevates", exactly. Rather, it invites a deeper questioning. Was this a deliberate commentary on social stratification or the emerging commodification of religious art? The elaborate border further complicates the reading. Was it intended for a wealthy patron's collection, or a more public dissemination? Look closely: do you observe irregularities or flaws in the printmaking, and what might those tell us? Editor: I notice that the paper is damaged along the edges, and the colors are somewhat faded. Maybe it suggests widespread distribution, improper preservation techniques by the owner or that this work was disposable and wasn't intended to last forever, challenging notions of art's permanence and importance? Curator: Precisely! The very degradation of the piece becomes a key component of its history, intertwined with the means of its circulation and consumption. Editor: I see. It makes you consider how materials influence not just the creation of art but its social life as well. Thanks! Curator: Indeed. Examining the material conditions reframes the historical and religious narrative into a much broader and intricate social discussion.