Portrait of Michel Anguier (1612–1686) 1733

Editor: Here we have Laurent Cars' "Portrait of Michel Anguier", made in 1733. It's an engraving, giving it a very crisp, almost photographic feel despite being hand-made. What do you see in this piece? Curator: I see a powerful statement about artistic identity and the construction of fame within the French academy. This print, made upon Cars’ acceptance into the Académie, depicts Anguier, a celebrated sculptor. How does this self-aware process affect our experience with the portrait? Editor: It definitely feels very self-referential. It's not just a portrait; it's a portrait about being an artist and being recognized as one. I see Anguier as this serious figure trapped in an oval frame which feels too small. It reminds me of how art history treats women and minority figures who don't fit the mold. Does the choice of a printmaking, rather than painting, for instance, affect the work's cultural relevance? Curator: Absolutely. The choice of engraving democratizes Anguier's image to some degree, making it more accessible. At the same time, the rigid formality speaks to the hierarchies within the academy. Editor: So it’s both exclusive and inclusive simultaneously? Curator: Precisely. It highlights the tension between celebrating individual talent and reinforcing the established social order. Considering Anguier's influence, could this image subtly critique or reinforce the structures of power within the French art world? Editor: I hadn't thought about it that way, but I do see now that it makes the viewer think about the context of its creation. Curator: And that very reflection empowers us as contemporary viewers. Editor: That makes the engraving more engaging and complex than I had initially considered.