Map met vier platen van historische gebeurtenissen ter zee in de jaren 1782-1784, eerste serie 1784

Curator: This print, "Map met vier platen van historische gebeurtenissen ter zee in de jaren 1782-1784, eerste serie," made in 1784 by Carel Frederik (I) Bendorp, uses engraving to depict Dutch naval history. Its stark aesthetic reminds me of public announcements, maybe even revolutionary pamphlets. What stands out to you? Editor: I immediately notice the prominent text; it seems to overshadow the images the title references! The aged paper also speaks volumes. Given its age, what do you think the material tells us about its purpose and the time it was made? Curator: Good eye. Focus on the printmaking process here, and think about dissemination of information during this period. Engravings allowed for relatively mass production. Notice the listing of publishers and even the cost listed at the bottom! This was meant for fairly wide consumption, aimed at a public audience keen to understand their nation’s maritime exploits and perhaps failures. It documents the construction of Dutch national identity. What were the economic drivers of producing and selling prints like these? Editor: So, these weren't just artistic expressions, but also commodities? Were these affordable to the general public, acting almost like newspapers reporting on events? Curator: Precisely. And consider the labour involved. Engraving was a skilled craft, time-intensive, wasn't it? How might the social status of the engraver, the publisher, and even the paper maker, influenced the production and the reception of these images? The materiality is intimately linked to economic and social structures. Editor: I hadn’t considered it that way, thinking about all the labor behind it and the economic reach of art even then! Thanks, that gives me a totally new way to see prints. Curator: It's about recognizing that art is rarely divorced from the material conditions that bring it into being. Considering art as a social and economic product is critical.