Portret van Charles Gobinet 1691

Editor: So, here we have Nicolas Habert's 1691 engraving, "Portrait of Charles Gobinet." The subject's face seems so intensely captured. The tight oval frame really emphasizes his focused gaze. What can you tell me about it? Curator: Well, considering this portrait, particularly its existence as a print, is interesting from a socio-historical perspective. These kinds of engraved portraits were often commissioned and disseminated widely. They were tools for building reputations and solidifying the standing of important figures within specific intellectual circles, religious orders, or the royal court. Editor: So, it's a little like a Baroque-era publicity shot? Curator: Exactly! And it's vital to think about who this Charles Gobinet was, not just as an individual, but as a representation of something larger. Given his garb and the inscription, “Doctor of the Sorbonne,” he was a person of religious and academic influence. How does the portrait serve that image? Editor: I guess, he looks very serious, respectable, and maybe even a bit intimidating. The sharp lines of the engraving and his unwavering expression make him seem quite formidable. Curator: And think about the act of Habert creating this print after a painting by Largillière. It shows the hierarchy and relationships of artistic production. Habert, as the engraver, plays a crucial role in making Gobinet visible and celebrated within his world. The portrait functions to ensure his legacy in that sense. What do you make of the Baroque setting? Editor: It’s much more than just an individual likeness. It's about projecting power and influence within the religious academic elite. I hadn’t considered it that way! Curator: Precisely! Looking at art through the lens of its societal function often opens up really compelling ways of understanding it. Editor: I’ll definitely look at portraits differently from now on! Thank you!