Coutances c. 19th century

Editor: Here we have Joseph Pennell's "Coutances," a print from around the 19th century. There’s a certain lightness to the composition despite the subject being such a dense architectural landscape. How do you see it? Curator: I'm drawn to how Pennell utilized printmaking to capture Coutances. The tangible nature of the printmaking process, the pressure of the plate onto the paper, allowed for multiples. The reproducibility is central. Who was the target audience for these prints, and how were they distributed? Consider also the paper he used. The material's tone subtly impacts the image. It’s not just a blank support; it's an active element, informing the shadows, adding texture, even dictating mood. Editor: That's an interesting point about the paper's role. I hadn't considered its active participation in the artwork. The use of printmaking techniques makes it feel accessible too. Curator: Precisely. What social class do you suppose acquired these types of landscape prints? What kind of labour and resources went into each individual print? Does Pennell highlight, or obscure these economic forces? Consider his career arc and social circle in order to deepen our understanding. Editor: So it's not just about what the image depicts but also about the entire life cycle of its production and consumption? It kind of forces us to think about the art world as a kind of economy of its own. Curator: Absolutely! We must consider both production and audience. And also the historical moment. Pennell chose printmaking which meant mass production, as photography grew, what social, economic or personal incentives may have encouraged his continued materialist, process-based practice? How does his chosen medium affect our interpretation of the cityscape of Coutances? Editor: I suppose I will look at printmaking and artistic value differently now. This deeper look at the medium’s materiality changes my initial interpretation. Curator: Excellent! Question everything - especially the materials!