Triumph of Christ (A-H) c. 19th century

Curator: We're looking at Robert Theer's "Triumph of Christ (A-H)" currently held at the Harvard Art Museums. Theer, born in 1808, captures a moment thick with historical and religious weight. Editor: It's undeniably striking, but also unsettling. The stark blacks and whites lend a sense of austerity, and almost industrial production, to this religious procession. Curator: The medium itself, likely an engraving, reflects the rise of print culture and its role in disseminating religious and political messages across broader audiences. Editor: Exactly! And think about the labor involved in such intricate detail, the repetitive, almost mechanical process of carving those lines. It’s devotional work made through intense physical effort. Curator: It really makes you consider the power dynamics at play. Who gets to represent "triumph", and who is swept along in its wake? Editor: The medium and process challenge the traditional concept of the artist-genius; the image becomes something collectively produced, both physically and conceptually. Curator: A fascinating point. It seems we've both found different aspects of this piece that resonate deeply. Editor: Indeed. I see the physical labor while you delve into its social implications; together, we’ve painted a more complete picture.