John Fisher, Évêque de Rochester 1 - 1793

Editor: This is a portrait of John Fisher, Bishop of Rochester, an engraving made by Francesco Bartolozzi in 1793. It's such a detailed print; you can really see the texture in his garments and the paper itself. What strikes you when you look at it? Curator: What immediately grabs my attention is the choice of engraving for representing a figure of such stature. The act of reproducing the image mechanically, of democratizing the access to a Bishop’s likeness, has powerful social implications. Think of the labour involved in creating the printing plate, the repetitive movements, and how that contrasts with the Bishop’s position in the social hierarchy. Editor: That's fascinating; I hadn't considered the printing process itself as being significant. So the very act of reproducing it changes the meaning? Curator: Precisely. Engraving allows for wider distribution and consumption, challenging the idea of the unique, precious artwork reserved for the elite. How do you think this availability of his image impacts how people viewed him? Editor: Perhaps it makes him seem more human, more accessible, rather than an untouchable figure. Curator: Indeed. Furthermore, the use of paper itself is relevant. Consider the raw materials required, the manufacturing process, and how those industries are interconnected with global trade networks of the time. It connects this image of religious authority to wider systems of production and consumption. Editor: It’s amazing to consider how the material processes involved add another layer to interpreting the subject itself! It makes me see the piece in a whole new way. Curator: And understanding those layers gives us a much richer appreciation, seeing art not as isolated creation, but intertwined within networks of material culture.