A premiere 1890

Editor: Here we have "A premiere" created by Anders Zorn in 1890, an etching in black and white of a mother and child wading into water. The hatching gives it a sense of movement and it looks like the start of a swim. What stands out to you about this piece? Curator: The etching process itself is key. Zorn's labor intensive technique--scratching into the metal plate to create these myriad lines-- speaks volumes about his artistic choices. He didn't choose painting, a technique valued at the time by high society. Why engage with reproductive technologies like etching and its potential for mass distribution of imagery, with an almost democratic intention, when he was, indeed, known for his society portraits? Editor: That’s fascinating! So you’re saying that choosing etching had some kind of social meaning back then? Curator: Exactly. The accessibility of prints versus unique paintings made it inherently a more democratic medium. What kind of patronage was Zorn aiming for? Was he commenting on the role of mothers, making it more accessible to them? Was he marketing towards women, as photography began to emerge as a competitor for painted portraiture commissions from this gender? Editor: I hadn’t considered how the materials and methods themselves could make a statement. I just saw it as an image! Curator: Think about the material conditions. What tools would Zorn use, what workshop, what kind of inks, who was able to access prints? What sort of exchange would have taken place in his studio, or through print vendors? Understanding the economic factors involved, and thinking about his consumers, makes you rethink Zorn’s motivations. Editor: So, it’s about the whole ecosystem of artmaking, not just the image itself. I’ll definitely keep that in mind! Thank you.