Diana 1688 - 1689

Editor: This is Romeyn de Hooghe's "Diana," an engraving from around 1688-1689, housed here at the Rijksmuseum. The fine lines create a delicate scene, almost ethereal, but there's also a clear groundedness from the detail in the landscape. What jumps out at you when you look at this piece? Curator: Immediately, I'm drawn to the printmaking process. Look closely at the burin marks; they dictate the light, shadow, and ultimately, the *value* of the work far beyond subject and symbolism. We have to consider this was a reproductive medium as much as creative; How does the mechanical process influence our interpretation of Diana, the huntress? Is this about accessible beauty or skillful rendering? Editor: That’s a great point. The act of engraving feels almost like a form of industrial production, even in the 17th century. Did de Hooghe's workshop, or his specific social class influence the work beyond his talent? Curator: Absolutely. Consider the labor involved: from preparing the copper plate to the press itself and, not to be ignored, its later mass distribution. Each impression carries its own inherent material history that also must be noted. The paper itself, likely rag paper, speaks of its own process, and thus economic background. How would that reading shift if this was made on silk, for example? Editor: It makes you think about accessibility in art, even back then. It wasn't just about the image, but who could afford and engage with it. Thanks, that's really opened my eyes! Curator: Exactly! The materials dictate so much of its story beyond pure aesthetics. Considering such materiality shifts how we address ‘Art’ then and now.