Honore Courtin 1668

Curator: Today, we’re looking at Robert Nanteuil's "Honore Courtin," an engraving dating back to 1668. Editor: Okay, my first thought? Hair. Like, whoa, that's some serious Baroque-level volume. I’m picturing this guy just wafting through a room, leaving a cloud of hairspray in his wake. Curator: Well, beyond the extravagant wig, consider the socio-political implications of such a portrait. In the court of Louis XIV, appearance was a powerful signifier. This image speaks to status and belonging in that inner circle. Editor: Right, right, performative identity. But still, the sheer artistry! The detail in those curls, the way light catches… you can almost feel the weight of it. Does the expression seem a little…smug? Or is it just me? Curator: The slightly raised eyebrow is key. Nanteuil, a master of engraving, uses subtle details like that to suggest intelligence and confidence. Also, the placement of the coat of arms beneath the oval is important—anchoring the individual to lineage and power structures. Editor: I suppose it is interesting how that little heraldic flourish feels less like a decorative element, and more like a legal footnote. Like a little 'terms and conditions' applying to the fabulousness above. But is it really subversive, or is it merely poking fun? Curator: It's about control—image management in a highly stratified society. By meticulously controlling his public image, a person like Courtin could potentially exert more power in the private sphere. It’s definitely a push and pull. Editor: Push and pull... very apt. Thinking about how such deliberate image-making echoes in today's heavily filtered world of selfies and personal branding feels very relevant. Curator: Exactly. The seeds of our modern preoccupation with self-representation are right here, meticulously engraved on this page. Editor: This artwork makes me reconsider how historical portraiture continues to mold us in surprising ways. I might never look at a wig the same way again.