Portret van Simon van Leeuwen 1662 - 1752

Editor: This is a portrait of Simon van Leeuwen, an engraving dating between 1662 and 1752 and currently held at the Rijksmuseum. The detail is extraordinary. What catches my eye most is the meticulous rendering of his hair – it seems to give the portrait so much movement, despite being still. What do you see in this piece from a formalist perspective? Curator: Indeed, the piece possesses a striking formal arrangement. Notice how the artist’s lines delineate not only the texture of hair, but also to generate depth in what could otherwise be a flat plane. Consider also how the oval frame, in itself an aesthetic choice, draws the eye toward the subject’s gaze and creates a sense of intimacy. The overall monochrome palette enhances the purity of form and line. Editor: That's interesting. I hadn’t considered the frame itself as contributing to the movement and intimacy. Do you think the choice of engraving as a medium plays a significant role? Curator: Unquestionably. The precision inherent in engraving allows for extremely fine details. Look at how the artist has manipulated light and shadow using varied line weights to sculpt the subject's face and give volume to his clothing. Furthermore, the repeatable nature of printmaking allows for the wide distribution of this man’s image. Editor: So, it's not just the image itself, but also its dissemination that speaks to the artwork's form? Curator: Precisely. Form, in this context, includes not only the visual elements but also the material processes by which the image comes into being and reaches its audience. Consider this the extended phenotype of the portrait itself, if you will. Editor: Thank you! I never thought about an artwork's form reaching out in that way! It definitely gave me something new to consider and study further in printmaking.