Quaakersvergadering, ca. 1656 1670 - 1724

Editor: So, this is Jacob Gole’s "Quakersvergadering," made sometime between 1670 and 1724. It's an engraving, currently held at the Rijksmuseum. There’s something almost theatrical about the scene – a woman standing on a barrel, surrounded by a crowd, and people peering from above. What jumps out at you? Curator: The print immediately makes me consider the material conditions of its production and circulation. Who was commissioning such images? Engravings allowed for the mass dissemination of ideas about groups like the Quakers. The very act of creating and distributing this image implicates it in a broader discourse about religious tolerance, or, more likely, intolerance, during the Dutch Golden Age. Notice how the composition directs our gaze, what kind of labor does the artist render visible, and what does the material of the print afford viewers about the making of such gathering? Editor: That's fascinating! So you're saying the image itself is an act of social commentary facilitated by printmaking technology. Curator: Precisely. Think about the labor involved in creating the copper plate, the ink used, the paper itself. Each step reflects economic and social choices. And consider what is deemed worthy of depiction in mass producible art forms! Why represent this particular group and their gathering practices? It asks us to ponder on the boundaries of social life as displayed, disseminated and, perhaps, consumed. Editor: So, looking at it that way, it's not just a depiction of a Quaker meeting, but also a record of how they were perceived and portrayed through material culture. Curator: Absolutely! And that perception was actively shaped by the choices made in the production and distribution of this print. Examining it materially brings the historical and cultural context to the fore. Editor: I see it in a whole new light now. Thanks! Curator: Indeed, materiality matters! It changes the entire lens and gives you much more background for further digging.