Frédéric Barromée, archevêque, cardinal de Milan 1720 - 1760

Editor: Here we have Grègoire Huret's "Fréderic Barromée, archevêque, cardinal de Milan", an engraving likely from between 1720 and 1760. I’m struck by how meticulously rendered the textures are, especially the drapery and the cardinal’s vestments. What can you tell me about the means of producing images like these, and what does the process reveal about the values of the time? Curator: That’s a keen observation. The engraving process itself—the skilled labor of incising lines into a metal plate, the careful application of ink, the pressure of the printing press—tells a story. This wasn’t a unique, singular artwork but rather a reproducible image, meant for wider circulation. Think about that in relation to the Cardinal: whose portrait are we disseminating and why? Editor: So, it’s less about the individual portrayed, and more about spreading an idea or affirming power. Is this where considering who commissioned it becomes important? Curator: Precisely. Was this commissioned by the Church, by Barromée himself, or perhaps a wealthy patron? Consider the materiality. Why engraving, which lends itself to sharp detail and reproducibility, rather than a painting? These decisions dictate not just the visual qualities, but also the audience and intended impact. The reproducible nature democratizes the image, yet it simultaneously reinforces a hierarchy. Editor: I hadn't considered the tensions inherent in reproducibility itself, how it both elevates and disseminates power structures through the materiality of the image. Curator: Exactly. By examining the means of production and circulation, we expose the social and political fabric woven into the art. Ultimately, these prints highlight the connection between artistry, labor, and societal values of the era.