Portret van Charles Colbert de Croissy, bisschop van Montpellier 1727

Editor: Here we have Martin Bernigeroth’s 1727 engraving, "Portret van Charles Colbert de Croissy, bisschop van Montpellier." It’s striking how formal and posed it is. What societal power dynamics are at play here? How do you interpret this work? Curator: Well, first, consider that portraiture of this era was almost exclusively a tool of the elite. This isn't just a likeness; it's a declaration of power and status. Bernigeroth captured Charles Colbert de Croissy, but also the institution he represents: the Church. We should think about what role the church plays in enforcing the gender, racial, and socioeconomic hierarchies of that period. Editor: So you’re saying the image itself is an instrument of those hierarchies? Curator: Precisely. Engravings like these were often disseminated widely, serving to reinforce social structures. Note the precise details in his garments, and his gaze. This wasn’t about individuality; it was about solidifying the bishop’s role within the dominant power structure. Consider the baroque style, too – highly ornate, intended to impress and inspire awe. Editor: It almost feels like propaganda, then? Curator: In a way, yes. But it’s subtle, operating on a cultural level. Think about who gets to be seen and how. Who is conspicuously absent from these portrayals? That’s just as important. Editor: That makes me look at it differently. It's not just a portrait; it's a statement about the values the artist is told to immortalize. Curator: Exactly. And those values have lasting consequences that resonate even today in questions around the ethics of representation and power. Editor: I've never thought of portraiture quite like that before. I’ll be rethinking a lot of art I’ve taken at face value.