Portret van David Ungnad von Weißenwolf 1667

Curator: This is a rather imposing portrait isn't it? "Portret van David Ungnad von Weißenwolf", dating back to 1667. The artist was Matthias van Sommer and the medium is engraving. Editor: Imposing is right! He looks like he's peering at us through a very elaborate, somewhat stern, octagon-shaped window. And the starkness of the black and white really reinforces that feeling of seriousness. Curator: Indeed. The octagonal frame gives it a structured, almost architectural feel. That form was occasionally used to symbolize renewal or rebirth—an interesting visual cue considering portraits often serve as a kind of symbolic immortality. It could also reference the cardinal virtues in that era. Do you find yourself looking to the emblems on the bottom? Editor: They ground the whole composition somehow. But more than that, they offer glimpses of history. Curator: Absolutely. Coats of arms speak to lineage, status, identity. The portrait is replete with subtle assertions of nobility and power. Editor: Is that common in Baroque portraiture? Because I'm sensing this kind of...contained drama. Curator: The Baroque certainly relishes in detail and visual grandeur. Here, even in a smaller engraving, you see that attention to texture in the clothing, in the elaborate curls of his wig, the shadows hinting at a story beneath the surface of officialdom. Think about what it would mean to choose printmaking in this time? It allowed portraits to be distributed widely, extending the subject's presence in a very real way. Editor: Almost like influencer marketing of the 17th century. In a sense it extends memory and status to an audience of potential devotees. It is an engaging if intimidating work! Curator: Yes, Matthias van Sommer captures something more lasting with this medium, doesn’t he? Thank you for joining me! Editor: It's my pleasure!