Marie de' Medici, 1573-1642, Wife of King Henri IV of France 1600 [obverse] 1624

Editor: This is a bronze relief medal created in 1624 by Guillaume Dupré, portraying Marie de' Medici. The detail in the lace is just incredible. How was something like this even made? Curator: A great question! As a materialist, I immediately consider the bronze itself. Bronze casting, even then, demanded considerable skill and labor. The medal wasn't just *made*, it was *manufactured* through a specific social and economic context. We must also not overlook the way Dupré, as the creator of the original model and the master of this technique, elevates labor into art. Editor: That's a side of art I have rarely considered, although you are making it so obvious to me. How did that manufacturing affect the perception of someone like Marie de' Medici? Curator: Consider who would possess such an object. It wasn’t mass-produced trinkets, but meticulously crafted medals. This wasn't just a portrait; it was portable propaganda. This object's materiality spoke volumes about status and power during the 17th Century and beyond, with this style later repeated en masse as production systems were industrialized. This object had real effects. How does its creation impact our perception of Mannerism? Editor: It's easy to get lost in aesthetics, and you've given me some amazing, material reminders to look further. Thank you. Curator: My pleasure! Focusing on these medals as objects with material histories allows us to critically investigate art's role in reinforcing – or even challenging – social structures, giving us a deeper engagement with art.