Portret van Madame de Viette 1881

Editor: Here we have Daniel Charles Marie Mordant’s “Portret van Madame de Viette,” an engraving from 1881. There’s an almost dreamlike quality to the soft lines and how the subject is framed with flowers and cherubs. What strikes you about it? Curator: I'm immediately drawn to the way this print reflects the complexities of portraying women during this period. The soft lines you mentioned almost idealize Madame de Viette, conforming to societal expectations of beauty and grace. Yet, the presence of cherubs could hint at the role of women at the time to reproduce and serve as a maternal figure, how do you interpret it? Editor: That's a good point about the societal expectations of women. I hadn't considered that the cherubs might be referencing women's maternal role. I guess I just saw them as decorative. Curator: Exactly! And it’s interesting to consider if the artist sought to challenge this traditional role or perhaps subtly reinforce it, through those compositional choices. What do you think that tells us about Mordant's views? Editor: Well, given the era, I'd guess it was more likely to reinforce the status quo. Though I’d be interested in finding out what others would say about the gaze. Curator: Absolutely. These prints give us access to exploring assumptions and biases within both art history and contemporary society regarding class and gender representation. Thinking about who had access to these portraits also raises questions about representation, power and visibility, right? Editor: Right. It shows that even seemingly straightforward portraits can have so much to say about the culture that created them. Thanks for helping me think through this one. Curator: My pleasure, I learned quite a bit hearing your perspective.