Charles Bonnet 1778

Editor: This is J.F. Clemens’ "Charles Bonnet," made in 1778. It's an engraving, so a print. There's something almost photographic about the level of detail! What strikes me most is how tactile everything seems – the ruffles, the fabric, even the books in the background. What do you make of it? Curator: Consider the labour involved. The very act of engraving, the repetitive motions needed to create these subtle gradations of tone. Each line is a deliberate mark, a trace of the artisan's hand, reflecting not just the subject but also the entire process of production. Are we, in admiring this image, considering the hand of the engraver? Editor: I hadn’t thought about that specifically. I was drawn to the textures and light. Curator: But what *creates* the textures and the light? Think about the materials – the copper plate, the burin, the ink. The image exists as a result of the engraver’s labor and the materials he utilizes. These are not just neutral tools. The material properties, the sharpness of the burin, the consistency of the ink… they all impact the final image. And this image would then have been multiplied and distributed… think about who had access to such portraits, who consumed them, and what that reveals about social status and networks of power. It isn't just about Charles Bonnet, but about how images and status are produced and consumed within a society. Editor: So it’s as much about the material processes as the subject matter. Curator: Exactly! Understanding how the piece was made gives us insights into the social and economic systems of the time. Editor: That changes how I see it. It makes me appreciate the work and thought that went into it. Curator: Indeed. Acknowledging the conditions of its making makes us reconsider its aesthetic value and social function.