Triomftocht van Willem van Oranje, tekstblad 1-4 1626

Editor: I’m looking at a 1626 print titled "Triumph-Wagen," by Jan Jansz Starter, housed at the Rijksmuseum. It combines text and image in an elaborate display of typography and engraving on what looks like a textile support. It feels very dense and textual; what strikes you when you look at this? Curator: I immediately focus on the material. It is so interesting that typography and engraving, traditionally seen as distinct skills are combined here and moreover applied to textile. The piece’s value lies not only in its message—likely commemorating Willem van Oranje—but also in how that message is delivered through these methods of production and consumption. Editor: How does the medium impact its reception? Curator: It blurs the line between ‘high art’ and popular culture. Starter made use of the printing press, allowing mass production and broader accessibility, fundamentally challenging the elitism associated with artistic expression. Editor: Is that textile substrate an indication of the intended use and distribution? Curator: Exactly! Was this meant to be displayed? To be worn? This opens up discussions on labor, materiality, and the social context surrounding its creation. Editor: I never considered that textiles might democratize art. I am learning that materiality can really inform our understanding of artistic expression in that era. Curator: Right? It pushes us to think beyond aesthetic appeal. I find myself appreciating the intersections of artistry, labor, and access this artwork suggests.