A Reconstruction of the Temple of Antonious and Faustina (above) and a View of the Ruins (below) 1690 - 1704

Editor: So, this is Jan Goeree's "A Reconstruction of the Temple of Antonius and Faustina (above) and a View of the Ruins (below)", created between 1690 and 1704 using etching, ink, and drawing. The contrast between the reconstructed temple and the ruins is really striking. What do you see as key in understanding this piece? Curator: I'm drawn to the labor embedded in this kind of architectural representation. Consider the etching process, the meticulous lines mimicking stone and shadow. Think about the workshops where prints like these were made, the division of labor, the specialized skills needed to both draft and replicate. Does this challenge how we see “fine art” versus “craft” at the time? Editor: Definitely! I always thought of these kinds of prints just as documents, like historical records, but I never really thought about who was making them and why. Curator: Exactly! The print becomes a commodity. Its value lies not just in its aesthetic qualities but also in its capacity to circulate knowledge and reinforce particular ideas about classical antiquity. Consider how these prints, as relatively accessible items, participated in shaping architectural taste and perhaps even influenced the construction of power itself. Editor: So, the artist’s intention matters less than the entire system that produced and distributed the image? It makes me wonder if wealthy patrons purchased these works and, thus, participated in that system, and whether the art influenced building trends of the period? Curator: Precisely! By understanding the modes of production, the material supports, and the avenues of dissemination, we gain insights into how Goeree’s image was meant to shape viewers’ understanding of the Roman Empire and also how the elite participated in celebrating empire, and wealth creation. Editor: This has given me a completely different way to think about prints. Thanks so much. Curator: My pleasure! Seeing art as embedded within a social and material web always enriches our experience.