Diogenes met de lantaarn 1751 - 1816

Editor: Here we have Reinier Vinkeles’ "Diogenes met de lantaarn," an engraving dating from between 1751 and 1816. The crisp lines and the almost photographic detail, given the medium, are quite striking. What strikes you most about this work? Curator: As a materialist, I am drawn to consider the context of its production. Look at the lines—consider the engraver's tools, the labour involved in the repetitive act of carving these marks into a metal plate. How might that repetitive labor influence the imagery or the meaning we derive? Editor: That's a very different way of looking at it than I’m used to. I was focused on Diogenes as a historical figure. Curator: But even Diogenes existed within a material world! Think about the lamp he holds. What kind of lamp is it? What fuel does it burn? What does it mean that he is searching for an honest man amidst the burgeoning urbanization depicted in the background? What kind of exchange relations are on display here? Editor: So, by focusing on the physical world and the production, we understand the artwork in the wider context. The artist wasn't just depicting a philosopher, but also commenting on his own society, how labour, production, and philosophy might be interwoven. Curator: Exactly. The print itself becomes a commodity, circulated and consumed within a particular socio-economic framework. Neoclassicism, viewed through a materialist lens, reveals underlying concerns about value, labour and social order. It also pushes the notion that prints were only made for popular consumption or dissemination and thus, secondary to painting or sculpture. Editor: I see, that’s fascinating! I had never really considered the labour and material circumstances behind a print like this. Curator: Hopefully it has illuminated other contexts for understanding this kind of artwork!