Portret van Willem van Citters 1757 - 1759

Editor: This is Jacob Houbraken’s engraving, "Portret van Willem van Citters," created sometime between 1757 and 1759. The detail is amazing for an engraving! I'm curious about the process… What's your take on this portrait? Curator: I see an object born from intense labor and the application of specific materials. Engraving, unlike painting, demands a rigorous, almost industrial process. Each line is physically etched into a metal plate, a testament to the engraver's skill and the economics of portraiture in that era. Notice the elaborate frame—more than just decoration, it signifies value and social status both for the sitter and, crucially, for the print's intended consumer. Editor: So you’re saying the *making* of the image reflects something about society then? Curator: Precisely. How might the proliferation of printed portraits democratize image ownership, while simultaneously reinforcing existing class structures? The labour, materials (metal, ink, paper), and the skills necessary dictated who could afford to have and commission these prints, and therefore, whose image would circulate. Is this really democratization? Or another form of consumption? Editor: I never considered the economic side so directly! I was focused on the artistic style, the Baroque influence. Curator: Style isn't divorced from material reality. The Baroque love of ornamentation demanded specialized labor in creating the elaborate frame and even Van Citters' clothing; look at the wig and lace, the materials speak to trade, and a particular social performance. Editor: Thinking about art this way really puts the focus on production and consumption. Curator: Absolutely. Examining art through its materiality reveals a complex network of social relations and economic forces at play. Consider next time who makes art, for what, and out of what stuff.