Johannes Hermann Wessel 1786 - 1787

Editor: Here we have J.F. Clemens' engraving of Johannes Hermann Wessel, created around 1786 or 1787. It has this really detailed, almost fabric-like quality to the shading that makes me wonder about the process. What catches your eye about this work? Curator: I'm immediately drawn to the process of engraving. Think about the labor involved, the precise hand movements required to create those fine lines. The materiality of the copper plate itself, and how that dictated the image... It's not just about Wessel’s likeness, but about the physical act of creating this representation. What kind of tools were used and how would this determine what type of aesthetic would come of this practice? Editor: So, you're suggesting that understanding the tools and process used in making the print is key to understanding the artwork itself? I hadn't considered the physicality so much. Curator: Absolutely. The choice of engraving, as opposed to another printing method, reflects something about the era’s values and the economics of the piece. Consider, for example, the distribution of prints in that period, as means of circulating knowledge, social identity or political opinions. To what degree was this about making Wessel accessible to a wider public through reproduction? How does this democratize representations of prominent people? Editor: That's fascinating, the idea of mass production even in this seemingly traditional format. It definitely makes me see the portrait beyond just a depiction of Wessel himself. I guess it’s less about ‘who’ is portrayed and more ‘how’ he is portrayed and shared. Curator: Precisely. Examining the means of production forces us to confront art as labor, as a commodity, and as a reflection of social structures. It prompts us to analyze who has access to these images and what purpose that access serves. Editor: This definitely broadened my perspective. Thinking about the material conditions gives a whole new layer to appreciating this print. Curator: Exactly! It reminds us that art is always embedded in a network of material practices and social relationships.