Portret van een paus, mogelijk Pius III 1665 - 1725

Curator: This engraving, likely made between 1665 and 1725, is titled "Portret van een paus, mogelijk Pius III" and attributed to Arnold van Westerhout. Editor: Well, my first thought is about the stark contrast. The delicate, almost playful cherubs clash dramatically with the stern figure of the Pope. Curator: It’s a fascinating juxtaposition, isn’t it? Think about the social and material implications. Engravings like these were reproducible, relatively affordable images. They facilitated the distribution of power, the image of the Papacy, to a wider audience. Who was consuming this image, and what meaning did they take away? Editor: True, and considering it solely from a visual standpoint, the composition is cleverly constructed. The oval frame softens the imposing figure, and the cherubs introduce a baroque dynamism with their twisting poses. It draws the eye. The lines used for shading also enhance this dynamism by creating an almost restless optical effect. Curator: Absolutely. The print medium allowed Westerhout to engage in a whole system of dissemination. We have to wonder what that reproductive labour looked like for the artist. I mean, an engraver doesn’t enjoy the singular aura of the “artist” creating an oil on canvas. Editor: But there's also something deeply impressive about the technical skill on display. The fineness of the lines, the way he’s captured the texture of the Pope's garments, and his serene, composed features is simply a wonderful example of portraiture. Curator: Agreed. Yet that very virtuosity, the labor-intensive craft of engraving, also becomes a factor in understanding how these images were consumed. Think of the economy of portraiture, and of power! How this one medium spread specific ideologies around the world… Editor: A fruitful reflection, I agree. It enriches the experience. Curator: Indeed. It gives me a greater understanding of art’s function in shaping a world based on the system behind material practices.