Joseph II 1828

Editor: This is Josef Kriehuber's 1828 print, "Joseph II." It feels very formal and staged, especially with the crown placed so prominently. What stands out to you? Curator: Well, let's consider the means of production. This is an engraving, a print, made to be reproduced. Think about its social function: distributing the image of power. How does the materiality of a print – its accessibility, its relatively low cost – change the perception of Joseph II’s authority compared to, say, a unique oil painting displayed only in the palace? Editor: So, it's less about the artistic skill and more about the message being spread to a wider audience? Curator: Exactly! And look closely. This isn't just *any* print. It's hand-colored. How does that added labor—the individual touch—reconcile with the industrial nature of printmaking? It speaks to the complex negotiation between mass production and notions of luxury and craft that shaped early 19th-century society. The consumer now has access to a reproducible image that evokes the individual through color application, while simultaneously showcasing social standing through aesthetic consumption. Editor: I see. The colours also make the print look vibrant. Curator: Yes, and the clothing: where did the fabrics come from, who wove them, who embroidered the gold details? Are those local or imported materials? These details, often overlooked, reveal much about the economic and social networks of the time. How did this kind of garment get distributed amongst the bourgeois? The value ascribed to this portrait in turn can influence ideas surrounding consumption and labour for similar items. Editor: That’s a lot to consider! I hadn't thought about it in terms of labor and materials before. Curator: It’s about unpacking the layers of production and consumption that constitute a work of art. Editor: It really changes my perspective on portraiture, thank you.