Ruy Velazquez probeert te ontsnappen en wordt door Mudarra afgeslacht 1612

Curator: This print, titled *Ruy Velazquez probeert te ontsnappen en wordt door Mudarra afgeslacht*, was created by Antonio Tempesta in 1612. It's currently held in the Rijksmuseum. The frenetic energy is quite striking, don’t you think? All of the figures in motion give a real sense of drama. How does it strike you? Editor: It definitely captures a violent scene. The scale is relatively small, given its location in the museum as well as the medium itself, yet it conveys such a sense of chaos. I’m curious about the choice of materials – what does the engraving medium contribute to the work? Curator: Consider the function of prints like this during the period. The engraving process allows for reproducibility, thereby enabling wider access to images and narratives for a growing literate public. Furthermore, think about the economic implications. Tempesta, as the designer of the print, relied on the skilled labor of an engraver to transfer the design onto a metal plate for mass production. It represents a form of cultural production and dissemination accessible to broader social strata than painting. What do you make of that aspect? Editor: I see how engraving democratized access. So, rather than focusing on individual genius, we look at the collaborative process and the broader circulation of this violent story through printmaking. Curator: Precisely. The 'old engraving style' – notice the lines. What do you see there, particularly in relation to production, and its connection to labour? Editor: I can see how demanding it is to use printmaking effectively, and I imagine the artistic demands and labor would also contribute significantly to the reading and cultural meanings we derive. Curator: Exactly. By thinking through its materiality, we begin to consider the human labour behind art, not just its aesthetic or narrative value. This image gives a glimpse into a material world where making and marketing went hand-in-hand. What final thought do you take away from all this? Editor: It definitely encourages me to reconsider how artistic production in early modernity really involved more collective forms of making and consumption that extend far beyond painting. Curator: And perhaps think about how that relates to artistic consumption and making today, which continues to blend high art with craft in so many intriguing ways.