Two Cardinals n.d.

Editor: This is Mariano Fortuny Marsal’s "Two Cardinals," an etching print of undetermined date, housed here at the Art Institute of Chicago. There's something unsettling about it; the claustrophobic space and the subjects' intense expressions… what's your take on this piece? Curator: The portrayal of these cardinals, likely high-ranking officials within the Catholic Church, cannot be separated from the historical and political power they wielded. Fortuny, active in a period of social upheaval, might be critiquing the Church's role in societal control. How does the stark medium – the etching – contribute to this interpretation? Editor: I see what you mean; the harsh lines and monochrome palette amplify the serious mood. It lacks the softening effect that color or paint might have given. What were the social tensions of the time influencing Fortuny? Curator: Spain at this time was fraught with political instability. The Church was viewed by some as upholding a conservative, repressive order. Consider also, who had access to create and own artwork? Was Fortuny questioning the inherent biases of the art world itself, reflecting anxieties about privilege and hierarchy? Editor: That adds a whole new layer! So it's not just about these two figures, but also about who gets to depict them, and why. Is it an outsider critiquing an exclusive establishment? Curator: Precisely! The very act of depicting figures of power in such a way can be a statement of defiance. The fuzziness created through printmaking creates a sort of screen that is not as clean as we expect them to be in reality, perhaps signalling something more below the surface? Editor: I initially saw just a somber portrait, but now it feels like a pointed commentary. It's incredible how much history and social critique can be embedded in one little print. Curator: And it prompts us to consider our own positionality when viewing the artwork!