Portret van Georg Adam Struve 1675

Curator: Here we have Nicolaus Häublin's "Portret van Georg Adam Struve," created in 1675. It's an engraving, a print meant for wider circulation. Editor: It's got a very distinguished air, hasn't it? The elaborate wig, the rather severe gaze...it feels very performative, very staged. All those fine lines! I wonder how long it took to create the plate. Curator: The Baroque era was all about grandeur and presentation. This portrait, like many others of the time, aimed to project status and power. Consider the context: Struve was a prominent legal scholar; imagery served to reinforce his public persona. Editor: And you see the attention to detail in the materiality, not just in the face but in the clothing, the rendering of the lace collar... Häublin clearly put a lot of skill and labour into conveying the texture and weight of fabric through this engraving. Curator: Exactly. Engravings like this were crucial for disseminating information and solidifying social hierarchies. Think about it: prints made images accessible, influencing how individuals perceived prominent figures and the social order. Editor: I find myself considering the role of the artisan creating this object. Häublin’s technique isn’t simply mimicking painting. It utilizes the graphic qualities of the engraved line to suggest form and surface – to make the most of the materials and his craft. Curator: Yes, and let’s consider the function of these portraits. It was probably commissioned to circulate amongst Struve's peers, other scholars, potentially even students, as a sort of visual calling card or marker of respect. Editor: Which brings to mind the chain and medallion. These objects carry weight and value, underscoring Struve’s prestige as he’s positioned as a valuable commodity as well. A crafted man, indeed. Curator: A considered and multi-layered depiction, no doubt. Editor: Yes, there’s definitely much more to unpack here.