Portret van Conrad Meyer 1755 - 1757

Editor: This is a portrait of Conrad Meyer, made between 1755 and 1757 by Rudolf Füssli. It's an etching and engraving. I find the ornate frame surrounding the portrait almost distracts from the subject himself. What's your take on this piece? Curator: Well, let's consider the materials and the processes at play. Etching and engraving – these are reproductive technologies, designed for dissemination. Füssli wasn't just creating a portrait, he was participating in the construction of a public image. What kind of labour would have been involved, do you think? Editor: Hmm, the careful detail suggests highly skilled work, perhaps apprentices learning the trade? Curator: Precisely! And consider the context: printmaking flourished alongside expanding markets and emerging notions of celebrity. This image was a commodity, intended for consumption. Think about how this image might have circulated and whom it was meant to reach. Editor: So, it's less about artistic expression and more about the social life of the image itself? The materials used and how the prints were made affect how the man in the portrait was perceived. Curator: Absolutely. Look closely at the details: what stories are told through the image? The baroque frame suggests status and a particular aesthetic preference. Füssli highlights, too, a potential dialogue between art and commerce and history. Editor: It's interesting to consider the production and distribution rather than solely focusing on its aesthetic value. I hadn’t really thought about it like that. Curator: Examining art through the lens of materiality and labor opens up fascinating avenues for understanding its broader cultural impact, wouldn't you agree? Editor: I do! This makes me appreciate prints as more than just copies; they’re products of their time, deeply embedded in social and economic networks.