Silhouetportret van Daniël Johannes Mackay 1809 - 1848

Curator: Immediately, the crispness of the black silhouette against the stark paper makes a powerful impression. It’s striking. Editor: We’re looking at a silhouette portrait of Daniël Johannes Mackay, created by Pieter (IV) Barbiers, sometime between 1809 and 1848. The piece, rendered in ink on paper, is part of the Rijksmuseum collection. Curator: I'm fascinated by the implied social commentary here. Silhouettes became popular precisely because they were accessible, a "democratic" alternative to painted portraits for the burgeoning middle class. To what extent does this representation flatten Mackay’s identity or make it newly available? Editor: Precisely! The technique is central here. The artist skillfully uses only contour and shadow to depict likeness. Note the economical way he represents Mackay’s eyeglasses, for instance—so functional yet crucial to the characterization. The line quality of the signature mimics that same precision. Curator: Given that it's a silhouette, there's no colour to analyse, however the inky black evokes seriousness, solemnity, but is that only because the subject is white, middle class, and in Western garb? The very absence of colour and detail prompts us to fill in gaps, inviting our own projections and potentially perpetuating societal biases. Editor: Indeed. But let’s appreciate the composition too; the framing, the placement of the signature at the bottom anchoring the image. Semiotically, those features enhance a sense of controlled dignity and status. This silhouette adheres to certain visual codes that signal decorum. Curator: Yet silhouettes are often read as less formal, more intimate. Here we have an instance of a rising mercantile class visually positioning themselves amongst those deemed 'high society,' and claiming authority, even demanding visibility. This is a gesture to ensure their social currency is viable, valuable. Editor: I concur that silhouettes existed in that space. I think this exploration has truly helped me look beyond just what is visually evident on the surface of the image. Curator: And for me, this artwork is yet another testament to the embedded societal dynamics.