Saturnus 1633 - 1672

Editor: So, this is "Saturnus," an engraving by Willem Basse, dating from 1633 to 1672. It's an arresting image; the detail achieved with what seems like simple lines is incredible. What stands out to you about this print? Curator: Well, consider the labour involved in such detailed engraving, the sheer physical effort of translating the image onto the metal plate. Look at how the burin shapes not only the figure of Saturn, but also suggests the material qualities of flesh and fabric through the density and direction of the lines. What sort of tools were required? Where did the artist acquire these? Who owned the copperplate? These are all pertinent. Editor: That’s fascinating! I hadn’t thought about the physicality of it so much. So the value is as much in the craft, as the image created? Curator: Precisely. The print itself becomes a commodity, a product of skilled labor disseminated for consumption. This piece would likely have been circulated and reproduced; how does its dissemination change the perception of Saturn himself? The traditional myth becomes both aesthetic object, and trade item. Editor: It's like the image becomes democratized through the means of production. What was previously restricted for wealthy patronage could be more widely accessed through this method of reproduction, as material becomes accessible in a whole different way to a broader audience. Curator: Exactly! It shifts the power dynamic between artist, patron, and the viewing public. What was high art can also now be accessible. It is not just art anymore; but cultural information for sale and to share. Editor: I see, examining the artwork from that perspective, it opens a whole new dimension of understanding! I'll certainly view engravings with a different appreciation going forward. Curator: Indeed, seeing art as labor helps us appreciate the socio-economic conditions that birthed it.