Ezelskop 1807 - 1861

Editor: This is "Ezelskop," which translates to "Donkey's Head," by Cornelis Steffelaar, made sometime between 1807 and 1861. It's a print, using etching as its medium. The texture seems so meticulously rendered. I’m struck by the detailed depiction of the animal’s headgear – it almost feels like a portrait of labour. What’s your take? Curator: This etching is interesting from a materialist perspective because it compels us to consider the labor and production inherent in both the subject and the art object itself. Steffelaar is not just depicting a donkey; he’s showing us a working animal, equipped with a harness. How does this representation connect to the socio-economic conditions of 19th-century labor practices? Editor: That's a good point. I hadn't considered the harness as a symbol of labour itself, a physical manifestation of the donkey's role in society. The artist clearly focuses on the materiality of the etching process, doesn’t he? Curator: Exactly. Think about the copper plate, the acid used to etch the lines, the paper it's printed on. The whole process relies on extracting materials, and a chain of labour, to produce a printed image. Doesn’t it seem he elevates this beast of burden with artistic talent to create art, therefore changing its perceived value? Editor: I guess so! What I once saw as a mere drawing takes on another life and a different representation, just like that of the donkey. That gives me a lot to consider about the relationship between labor, artistic creation, and economic structures. Curator: Precisely! Art and production intersect. Editor: I never would've considered it that way; that’s amazing. Thanks for opening my eyes!