Portret van Peter Paul Rubens 1630

Editor: Here we have Willem Panneels’ “Portret van Peter Paul Rubens” from 1630. It's an engraving and has this fascinating old engraving style. There's a kind of gravity in the portrait. What can you tell me about this image? Curator: This portrait is interesting for what it tells us about the visual culture of the Baroque period, particularly in relation to artistic celebrity. The inscription tells us a lot. Editor: The inscription? Curator: Yes, it compares Rubens to Apelles, a famed painter of antiquity, highlighting Rubens' international acclaim. The print served to disseminate Rubens’ image – controlling his likeness while bolstering his public persona, extending his influence far beyond his physical presence. Editor: So it’s almost like… early image branding? Curator: Precisely! And notice how he's positioned not just as an artist, but as a diplomat - a man of worldly affairs. This print was produced during a time when printmaking served to establish, cultivate and celebrate reputation through the control and distribution of likeness. In that context, this is as much about socio-political standing as it is about capturing a face. Do you see the difference here, between how art history remembers the artwork versus how its function in Rubens's era? Editor: That’s fascinating; so it's more than just a portrait; it’s a statement of status and an active piece of self-fashioning through visual culture. I see now the politics behind it, beyond the Baroque aesthetic!