The Hundred Guilder Print: the ass, the camel and the wheelbarrow 1753 - 1810

Editor: This is “The Hundred Guilder Print: the ass, the camel and the wheelbarrow" by Rembrandt van Rijn, dating from 1753 to 1810, an etching now residing at the Rijksmuseum. The scene depicted, filled with figures and animals, is rendered in incredibly detailed line work, which speaks to its nature as a print, which is incredibly impressive for its age. I am struck by how grounded and human all the figures look. What draws your eye to it? Curator: The print exemplifies Rembrandt’s exploration of material conditions and the socioeconomic fabric of his time. Notice the tools, garments, and even the animals - these were signifiers of labor, trade and daily life. Consider the labor-intensive process of etching. Rembrandt wasn't just creating an image; he was deeply involved in the *making* of the artwork, shaping it through the deliberate manipulation of materials and processes. Editor: It's interesting that you focus on materials and labor, and it really opens up the work to consider this Baroque painting beyond its subject! Can you explain more how the *making* changes things? Curator: Think about the social context in which the print was created. Printmaking made art more accessible to a broader audience beyond the aristocracy. Therefore, a greater public were consumers, and through this lens the image acts as a kind of commentary on the value and consumption of images. Does this democratization influence how you interpret the piece? Editor: Absolutely. Seeing it as a product of specific labour and materials intended for wider circulation changes everything! The artist and those who labored to distribute his art for wider audience were consciously creating more affordable artworks. Thank you so much, I will never look at it the same way again! Curator: And that awareness hopefully gives you a richer understanding of the choices behind it and its continuing impact on art making today.