Linker Flügel eines Allerheiligenaltars c. 1500 - 1530

Editor: Here we have Hans Holbein the Elder's "Left Wing of the Altar of All Saints," created sometime between 1500 and 1530, and rendered in ink. It’s so intricate. What stands out to me is the overwhelming number of figures. What do you make of this piece? Curator: What strikes me is the physical labor involved in such a detailed drawing. Think of the repeated motions, the meticulous application of ink to paper, the sheer hours spent by Holbein. It’s easy to get lost in the iconography, but considering the act of making is essential. How does this manual process affect its reception? Editor: I hadn't really considered that aspect of it. The level of detail must have taken incredible patience. Does the function as part of an altarpiece change your perspective? Curator: Absolutely. The altar's purpose was devotional, impacting labor involved in its construction. Materials like ink, pigment, and the paper itself have histories tied to trade, resource extraction, and even exploitation. Who made the ink? Where did the paper come from? Editor: Wow, so many questions open up when you consider those points. Thinking about it now, the cost of the materials must have played a role, too, right? Did it determine the level of intricacy, perhaps? Curator: It undoubtedly influenced the production. Patronage also determined the availability of time for such intricate drawings. Editor: This perspective really enriches my understanding of the artwork, making it far more tangible and connected to the world it came from. Thanks for helping me consider this work with more scrutiny. Curator: Considering the social and material realities inherent in artmaking is important. The “divine” in this altarpiece depended on material and manual labour, the physical cost of faith laid bare.