Stadsgezicht met vissershaven en deel van de stadsmuur before 1693

Editor: So, we're looking at "Cityscape with fishing port and part of the city wall," made before 1693, a drawing and engraving by Richard Adam. It feels so industrious. What do you make of it? Curator: As a materialist, I'm immediately drawn to the engraving technique itself. Think about the labor involved in creating such intricate lines, the tools, the workshop… it speaks volumes about the societal value placed on skilled craftsmanship. Do you notice how the artist renders the stone of the city wall? Editor: Yes, it seems painstakingly detailed. What does that attention to detail tell us? Curator: It directs our attention to the urban landscape not just as scenery but as a constructed, labored-over environment. The harbor isn't just pretty, it's a crucial point in a network of production, distribution, and consumption. Note the position of the ships and fishermen at the base, these elements show the integration with trade in the city, and invite viewers to assess the significance of material reality during this historical period. Editor: That's interesting. I hadn't really considered how the technique connects to the socio-economic context. Curator: Exactly. How the artist utilizes print as a tool democratizing the image-making, considering their circulation across the social landscape during that period of time, also prompts viewers to discuss themes of labour, materials, production in a tangible manner, questioning art-making techniques within the sphere of labour and craftsmanship. Editor: So, seeing it through a materialist lens opens up new ways of thinking about the process and the societal role it played at the time. Curator: Precisely! Now we see the cityscape not just as a pretty scene, but as evidence of complex social relations. Editor: Fascinating. Thanks for opening my eyes to that.