Portret van John Prideaux Bassett met zijn hond 1754 - 1756

Editor: This engraving from 1754-1756 by John (II) Faber, titled "Portret van John Prideaux Bassett met zijn hond", has such an interesting, almost staged feel to it. What aspects of the engraving strike you most forcefully? Curator: The compelling aspect lies in Faber's meticulous process. He transforms painting into print through labor-intensive techniques. We must ask, what social function does this reproductive print serve, making art accessible to a broader audience than the original painting could reach? Editor: So, it's not just about the image, but the act of making it accessible? Curator: Precisely. Faber is working within a burgeoning market for portrait prints. He mediates access. Consider the copperplate itself – the material constraint that dictates the image's potential for mass distribution. Look closely at the way Faber used mezzotint; a laborious, subtractive process, creating tone by roughening and then selectively smoothing the plate. The textural qualities are integral to its message of elite status, through painstaking, specialized work. Editor: So, the labor involved underscores the sitter’s status. Curator: Exactly. How does the choice of engraving over another medium contribute to the perception and circulation of status in 18th-century Britain? Is it more portable, more affordable, more reproducible? Think of who would buy and display this print, and what that implies about their own social aspirations. Editor: I hadn't considered how much the physical production contributes to the reading of the image. Thanks, this completely changed how I appreciate the artwork! Curator: And for me, reflecting on the engraving process makes visible the hidden labor within this artwork, transforming the work.