Dankgebed 1611 - 1623

Curator: So, this is Pieter Feddes van Harlingen’s "Dankgebed," made sometime between 1611 and 1623. It’s currently in the Rijksmuseum. I am struck by the level of detail in the engraving - the artist managed to create so much depth using line work, a testament to his craft. How does this work strike you? Editor: I agree! It's such an intricate piece. The textures achieved just with lines are incredible. I’m also curious about how these engravings were actually produced. What insights can a materialist lens offer on a work like this? Curator: Well, firstly, think about the copper plate itself, the tool of production. Where did the copper come from? Who mined it? What was the social status of the engraver compared to those involved in resource extraction? Consider, too, the distribution of the final print. Was it aimed at a wealthy elite, or was it a more popular form of devotional art available to a wider segment of society? These are important points to analyze. Editor: So it’s about uncovering the networks of labor and consumption that surround the artwork? I hadn't considered that before. I automatically think about the artist alone in their studio. Curator: Precisely! And beyond that, look at what’s being depicted: food, a table setting, the clothes the subjects are wearing. These details point to specific modes of living, of consumption, available at that time. We can start to reconstruct a picture of everyday life. This focus challenges our typical way of perceiving artistic creation. What aspects of production seem particularly emphasized? Editor: It seems that labor and accessibility were the key elements. It also reminds me that artworks, even something as seemingly simple as a devotional print, were tied to complex systems of extraction, manufacturing and consumption. Thanks for making me see that. Curator: My pleasure! The materiality of art isn't always obvious, but is so insightful!