Portret van Gottfried Thomasius 1712

Editor: So, this is a portrait of Gottfried Thomasius, created in 1712 by Martin Bernigeroth. It's an engraving, so black and white, and feels very formal and of its time. I am struck by the formality, and I wonder what someone looking at this would make of it. What do you see in this piece? Curator: What strikes me is the assertion of status and power inherent in these Baroque portraits. It's not merely a likeness, it's a constructed representation of Thomasius's role in society. The Latin inscription underscores that, immediately signaling his erudition and professional standing. Who was invited to have portraits, and what statement did that create at the time about class, access and representation? Editor: So the very act of commissioning a portrait like this becomes a political statement? Curator: Precisely! It reinforces existing hierarchies. Thomasius isn't just any doctor; he's physician to princes, a powerful position to hold. Consider who gets remembered and how in visual culture, and the social inequalities perpetuated. What is his access relative to his peers or social class? Editor: I guess I was thinking about it just as an image, but it is definitely a claim about social standing. I never really considered how that contributes to larger systems of power! Thanks! Curator: Thinking critically about the relationship between art, power, and social structures opens up fascinating avenues for analysis. There's so much more to see when you examine art as a participant in ongoing social and political narratives.