Inname van Douai, 1710 1712 - 1715

Editor: Here we have "Inname van Douai, 1710," a print, perhaps an engraving, made by Joseph de Montalegre between 1712 and 1715. It depicts a historical scene with lots of figures. It’s very detailed, and honestly, quite overwhelming to look at. What stands out to you in this work? Curator: I’m drawn to consider the materials and processes involved in creating this kind of printed image. Look at the sheer labor involved in carving these intricate lines into a plate. How was this print circulated, and who had access to it? The scale and reproducibility are critical to its purpose as propaganda. Editor: Propaganda? I hadn’t thought of it that way. I was more focused on the chaotic battle scene depicted. Curator: Precisely! The 'chaos' is carefully constructed through repeatable etching to convey a certain narrative about war, power, and perhaps even national identity. Who would consume an image like this, and what were they meant to think? The materials and method facilitated distribution for mass consumption and helped forge particular beliefs. Editor: So, you’re saying the choice of printmaking, as opposed to painting for example, enabled a wider audience and thus, the promotion of particular ideology about this event? Curator: Exactly. Consider too how this contrasts to earlier forms of history painting. What kind of labour do we see being celebrated and what gets omitted through this selective image making process. How much did it cost to produce an artwork like that in 1715? It must have impacted its dissemination and use to reinforce positions of power. Editor: That’s a great point! I hadn’t thought about how the printmaking process itself plays into the artwork’s message. Now I see how the choice of materials isn't just about aesthetics; it's integral to understanding its cultural impact. Curator: Precisely! Focusing on materiality directs us to questions of consumption, labor, and power in 18th century society.