Alexander Entering Babylon 1650 - 1714

Curator: Today we’re looking at “Alexander Entering Babylon,” an etching in ink by Sébastien Leclerc I, dating somewhere between 1650 and 1714. Editor: My goodness, what a spectacle! Even in monochrome, the scene is positively overflowing. There’s a riotous sense of pomp here. It really comes alive, even captured as lines of ink on paper. Curator: Indeed, Leclerc was celebrated for his ability to capture such large-scale historical moments with incredible detail. His access to the royal court afforded him the privilege to shape how such occasions would be seen for decades to come, contributing to the public image of power and grandeur during that era. Editor: And look at the sheer labor involved in producing this. The paper itself, the etching tools and inks, each playing a part. Leclerc’s workshop must have been a hive of activity, translating these grand narratives into reproducible images for a wider market. How does this reach its audience? Was it framed for display? Tucked in albums? Curator: It circulated as both, certainly influencing public perception. Consider how it presented Alexander—not as a conqueror, but a liberator welcomed by the populace. The etching served as a political tool, aligning Louis XIV's image with that of historical figures. Editor: Absolutely, it's visual propaganda, elegantly rendered. One could easily overlook the toil etched into these images by underpaid hands, the physical and chemical processes of intaglio. Was this type of work regarded as craft or high art, then? Curator: That boundary was indeed fluid at the time. Leclerc’s pieces, disseminated through prints, were a way of popularizing knowledge, fitting in a unique intersection between artisanship and intellectual production, as his patrons included prominent scientific figures as well. Editor: A remarkable thought: to consider these ink lines not just as illustration, but also a material embodiment of historical narratives shaped by socio-political forces. Curator: Precisely. And in Leclerc's "Alexander Entering Babylon," we see the complex interplay of art, history, and power, all brought to life through the meticulous execution of an intaglio print. Editor: It shifts how one sees a print. It’s about distribution networks as much as an image. It definitely encourages further thought about how images shape our sense of self and society.