De rijwielverordening te Amsterdam Possibly 1897

Curator: This etching by Anton Molkenboer, "De rijwielverordening te Amsterdam," possibly from 1897, is quite busy. There are many figures, seemingly in conflict. It's done with ink, making it seem journalistic. What do you make of it? Editor: I see a chaotic street scene, a bit humorous, maybe even critical. But what strikes me most is the technique, the medium, the marks. How does the method Molkenboer employed affect the message? Curator: The choice of etching and printing processes places this work squarely within a burgeoning print culture. It's no coincidence it accompanied an article in "De Kroniek". Look closely, and we see a visual depiction of class struggle as the new bicycle regulations were conceived and debated. This work offers a commentary on power relations, as manifested through mobility. How are labor, class, and social order materialized through the artist's hand? Editor: So, it is about how social structures of that period were portrayed and maybe reinforced through printmaking as an accessible means of communication, it goes beyond the artistry involved. Would it have had a similar impact if painted? Curator: Painting would have been too… exclusive. The beauty of printmaking is its reproducibility and accessibility, aligning it more with mass communication. The image's power resides in its ability to disseminate a viewpoint on societal changes regarding transportation and legislation, turning it into accessible imagery for popular consumption and perhaps, stirring the pot? Editor: So, by dissecting the materiality and the mode of production, we glean a richer understanding of this drawing and the world it represents. It also tells the story of technological advancement and social issues using ink, etching, and printmaking, as it's medium and platform for visibility. Curator: Precisely!