Portret van Daniel Sennert 1644

Editor: Here we have "Portret van Daniel Sennert," made in 1644, an engraving. Looking at the intricate lines, I can only imagine the time spent on the plate. The portrait subject looks severe, very distinguished. What’s your read of the material properties here? Curator: For me, it’s vital to think about the act of production. Engraving, like any printmaking technique, is a reproductive medium. Each impression disseminates the image of Sennert but also multiplies the labor invested in the matrix. The print medium allowed the dissemination of the professor, Daniel Sennert's image as a commodity, raising questions about access, patronage, and the economies that supported artistic and scientific production at the time. Do you think the choice of print is a conscious decision? Editor: Absolutely, a print makes sense considering his occupation! The prints could circulate amongst the academic community. The production here is totally integral to its use. I had originally perceived it merely as a static portrait. Curator: Exactly! It is less about an individual artist's expression, and more about skilled craftsmanship in service of distributing knowledge, shaping intellectual reputation and consumption practices within scholarly circles. Consider who was buying the prints. The networks sustained through prints give insight into power and how an academic or doctor secured status. Editor: Thinking about the act of production, it really does open up different meanings. I definitely see how the labor and material properties were more central than just aesthetics! Curator: Exactly. By concentrating on the process, materiality, and historical context of the work, one gains new insights.