Portrait of the artist 1880

Editor: This is Alphonse Legros's "Portrait of the artist," an etching from 1880 currently residing at the Metropolitan Museum of Art. There’s something really striking about the rough texture created by the etching – it’s so raw. What can you tell me about it? Curator: The choice of etching is crucial. Legros was deeply involved in the etching revival, wasn't he? It democratized image-making. Think about the accessibility of prints compared to painting; multiple impressions allowed for wider consumption and challenged traditional hierarchies that privileged unique works of art. Editor: So, it’s not just a portrait, it's a statement about who gets to own and experience art? Curator: Precisely! And consider the material limitations. Etching, with its reliance on acid, metal plates, and printing presses, demands a specific set of skills and access to workshops. Who controlled these means of production in 1880? Understanding that labor, the acid biting into the plate, and the physical act of printing becomes essential to interpreting this image. It reflects not only Legros’s individual skill, but also his position within a specific artistic and economic system. Notice also the choice of dress here, a simple robe. What do you read in that? Editor: Perhaps downplaying the status, even elevating the idea of an artist as someone more concerned with work than appearances? The opposite of the foppish dandy? Curator: Exactly. The humble materials and direct processes speak to a desire to connect art to craft. Where does the 'high art' of portraiture meet the 'low art' of printmaking here? That tension is the core of understanding Legros’ project. Editor: I hadn't considered the political implications of the medium itself before. That gives me a lot to think about. Thanks! Curator: Indeed. Seeing the material conditions of art changes everything.