Portret van Conrad Samuel Schurtzfleisch 1712

Curator: Here we have a rather splendid engraving titled "Portret van Conrad Samuel Schurtzfleisch," created in 1712. Editor: Oh, he looks every bit the Baroque gentleman! I'm immediately struck by that incredibly ornate wig – a cascade of curls contained within that etched oval. There’s something melancholic about his gaze though, isn't there? Curator: Absolutely. Now, considering its material, an engraving is made through a fascinating labor-intensive process. A design is carefully incised onto a metal plate, likely copper in this case, then ink is applied, and the surface is wiped clean, leaving ink only in the grooves. When pressed onto paper, you get this image. The print could have been relatively accessible depending on how many impressions were made. Editor: So, almost like a very refined industrial method for disseminating portraiture. It's funny to think about now when everyone has a camera on their phone! But back then, engravings brought individuals into the homes of many who wouldn't have encountered the sitter otherwise. Curator: Precisely. And think about the economic considerations—commissioning a painting was likely a privilege for a small portion of society. Meanwhile, an engraving of this professor opened his likeness to a broader, although still undoubtedly literate, audience. Also the engraved inscription itself tells its own story about cultural production, social identity, and power. Editor: Power, yes. It certainly imbues a certain sense of authority. And this engraving – even with the sitter’s mild melancholy – it creates an object that bestows prestige. What I love, beyond just the visual aspect, is the artistry and patience required to etch those tiny, meticulous lines into the metal plate. One can almost hear the scratch of the tool on copper. Curator: A beautiful, intimate connection to the production of this portrait! Indeed the meticulous hand work and process are so often obscured when we think about artworks and this is a fantastic instance of making process visible. It really prompts a reconsideration of what "art" was in this era, no? Editor: Absolutely, that's what draws me to it, making me wonder if he felt himself fully represented within all this artistic effort, the sheer effort contained within this engraved surface. Curator: Food for thought as we move ahead to contemplate labor and craft of different periods in art history. Editor: A parting reflection before the age of photography!