Portret van René de Marillac 1691

Editor: This is "Portret van René de Marillac," an engraving created in 1691 by Jacob Gole. The fine lines create a really striking, almost unsettling portrait. I’m curious, what strikes you most about this print? Curator: As a materialist, I see the printmaking process itself as deeply significant. Consider the labour involved in creating this image, the copper plate painstakingly etched to produce these lines. The circulation of such prints also speaks volumes about the socio-economic context. Editor: So, you're thinking about who would have been making and buying prints like these? Curator: Exactly. These weren’t mass-produced images in our sense. Each print was a product of skilled labour and specialized tools. And what does this image *do*? It circulates a likeness of power – notice the fleur-de-lis suggesting his association with the French monarchy, a powerful political message being distributed materially. Do you see that satirical intention influencing the execution of the work? Editor: I hadn't thought of it that way, but I see how the unflattering depiction could be read as commentary. I guess I was focusing so much on the "art" aspect that I didn't fully consider the labor. Curator: And that’s the point, isn't it? By focusing on the labor and mode of production, we deconstruct the assumed hierarchies between 'high art' and the more quotidian practices of making and circulation. This forces us to question the intention. Editor: That's fascinating. I’ll definitely look at prints differently from now on. Thinking about them as products of labor and social exchange opens up a whole new perspective. Curator: Indeed, viewing art through a materialist lens offers a rich understanding that often goes unnoticed. It shows how even a simple print can reflect so much about society, labor, and the flow of power.