Slag bij Bergen (Noorwegen), 1665 1665

Editor: We’re looking at "Slag bij Bergen (Noorwegen), 1665," or the Battle of Bergen, Norway, 1665, by Arnold Bloem, created as a print. It’s quite striking – the scene is full of dramatic action. What jumps out at you when you see this piece? Curator: It's compelling to consider the materiality of this engraving. Think about the process: the artist meticulously etching lines into a metal plate, using tools shaped by industrial advancements to depict the very industry and warfare of the period. We see a direct relationship between production and product. The copper, the ink, the press - all complicit in disseminating this visual narrative. Editor: So, you're saying the physical process informs our understanding? Curator: Absolutely. This wasn't simply aesthetic creation; it was a means of production – mass production, relatively speaking. Consider the intended audience: were these prints designed for wealthy collectors or for a broader public eager to consume narratives of naval conflict and Dutch power? Where were they printed? And what specific knowledge and technology enabled its proliferation at the time? Editor: That makes me think about how the materials themselves, copper and ink, contributed to shaping historical consciousness. It’s no longer just about the battle. Curator: Precisely. Each line etched into the plate, each impression made, played a role in solidifying narratives about national identity and power struggles within the burgeoning capitalist system of the 17th century. It transforms the understanding from a mere depiction into an item to mass consumed. Editor: So by analyzing the material production, we can glean new insights? Curator: Exactly! Considering the artwork’s tangible nature shifts our focus to the social context and economic structures that birthed and distributed the image. I think I learned from you today too: I’m excited about that approach!