Carl XI 1659 - 1663

Editor: Here we have Albert Haelwegh's "Carl XI," an engraving dating from between 1659 and 1663. I'm struck by the fine detail of the engraving; it almost looks like a photograph. What do you see when you look at this print? Curator: I see a fascinating interplay of power, representation, and the material means by which both are constructed. The engraving, as a mass-producible medium, is key here. How does it democratize the image of the king, making him accessible to a wider audience, while simultaneously reinforcing his authority? Editor: That’s interesting. So, the print, in its reproducibility, changes the relationship between the King and the people? Curator: Precisely. Consider the labor involved in creating the copperplate, the cost of ink and paper, and the distribution networks. The portrait of Carl XI isn't just an image; it's a commodity, embedded in a complex system of production and consumption. Is this accessibility subverting the traditional aura of monarchy or strengthening it by controlling representation? Editor: So you're saying even this image of the king is, in a way, shaped by industry and consumption? I hadn't considered that. Curator: Exactly. Look at the details - the rendering of ermine, the way he holds his baton. Every element speaks to a material reality, carefully crafted and consumed to reinforce social order and political ideology. By studying it, we can see art not as isolated masterwork, but one part of larger systems. Editor: This makes me think about how much we miss when we only look at the 'artistic value' without questioning the material origins. Curator: Absolutely, and even question that ‘artistic value,’ considering whose interests were served by celebrating or ignoring the materials that comprise this engraving, and more broadly, artistic and social structures of 17th century Sweden.