Charles De Saint Albin, Archbishop of Cambrai 1723

Curator: Hyacinthe Rigaud painted this impressive portrait of Charles de Saint Albin, Archbishop of Cambrai, in 1723. It’s currently housed right here at the Getty. Editor: You know, looking at him, I immediately get the sense he's auditioning for the role of ‘wise but weary counselor’ in a historical drama. It’s something in the eyes, the slight sag—he’s seen things, definitely taxed some souls with his sermons! Curator: Absolutely! Rigaud was a master of capturing the essence of power and authority, which was obviously useful for portraying the clergy and nobility. You see that academic art influence at play. Note how his gaze directs and judges the viewer. His clothing and accoutrements also point to the wealth that supported his position. The composition invites reverence. Editor: True, the gold cross glinting against that pristine white collar...it's a carefully constructed image, no doubt. Still, beneath the officialdom, I wonder what kept him up at night. What tormented his soul, eh? Curator: The role of Archbishop came with significant political power as well, not just spiritual authority. Rigaud emphasizes this worldly power by depicting Saint Albin in a grand setting with the trappings of wealth. The carefully constructed image is a performance. Saint Albin must always keep his image as a pillar of strength and rectitude, regardless of any hidden internal doubts or struggles. Editor: The drama of the fabric is incredible, isn't it? That silky gown pooled around him looks both opulent and stifling. It seems he carries the weight of expectations rather visibly in his clothes and posture. Almost ironic, don’t you think? That such lavish materials, often symbols of freedom and success, should look more like heavy chains. Curator: Precisely! These portraits were powerful tools in image management. The artist uses Saint Albin's visible accoutrements to subtly display political messaging and to present himself as a figure worthy of respect, awe, and even, frankly, a bit of fear. Editor: So, we’ve peeled back some layers on this portrait today, and, hopefully, our audience also now looks at Charles de Saint Albin a bit differently, eh? Curator: Indeed. A Baroque portrait with an undeniably modern consideration of image and power.