Napoleon neemt afscheid van zijn broer, 1806 1853 - 1861

Editor: Here we have an engraving titled "Napoleon Takes Leave of His Brother, 1806", dating from 1853-1861. The artist is anonymous, and it's currently at the Rijksmuseum. I find the linear detail quite captivating, though the figures feel rather stiff. What's your take on this piece? Curator: It's fascinating to consider this print as a manufactured object, replicated and disseminated widely. How did its production contribute to constructing and reinforcing the image of Napoleon? Note the stark lines and repetition in figures. How does that industrial aesthetic relate to the romantic style? Editor: The mechanical nature of engraving definitely clashes a bit with the dramatic moment. It almost flattens the emotion. How might that tension reflect broader societal changes at the time? Curator: Exactly. Consider the social and economic impact of printmaking. The image of Napoleon becomes a commodity, accessible to a broader audience, but also shaped by the labor involved in its production and distribution. Who was buying this, and why? How did they access it? These questions highlight how images circulate within a complex network of materials and social relations. Editor: So, it’s less about the grand historical narrative and more about how the narrative was mass-produced and consumed. It almost makes the hero seem like…product. Curator: Precisely! Seeing the hero, his image, as a consumable product redirects our analysis to processes, revealing underlying power dynamics that transcend merely aesthetic judgements. Editor: This really shifts my perspective. I was focused on the romanticism, the implied narrative, but understanding the print as a manufactured item adds a layer of social context that I hadn't fully considered. Curator: By considering art’s relationship with the mode and meaning of production we see something greater in our understanding of History and, by extension, our contemporary moment.