Portret van kardinaal Emilio Bonaventura Altieri 1669 - 1679

Curator: We're looking at a Baroque engraving, dating roughly from 1669 to 1679, titled "Portret van kardinaal Emilio Bonaventura Altieri". The engraver was Albertus Clouwet. Editor: Okay, my first thought? That goatee is doing *a lot* of work! Seriously, it's like the artist knew exactly what to focus on. It commands attention. Curator: Well, that goatee was likely a prominent feature of Cardinal Altieri. Portrait engravings like this one served as important tools of political and social representation in their time. They broadcasted an individual's power and status, especially in circles of the Church. The presence of two coats of arms supports that function too. Editor: True. The goatee anchors the portrait, gives it…gravity? But also a hint of whimsy. It’s theatrical, like Baroque art often is. There's a kind of intensity in his gaze too that adds to that dramatic flare. I can imagine him plotting something! Curator: It's not just the goatee and gaze that give off that intensity. Think about the lines in the engraving, meticulously layered to build up shadow and form. The contrast is pretty strong. It brings out the texture of his garments, but also those sharp lines on his face. This print isn't just a portrait; it is designed to convey power. Consider, too, how prints could circulate widely, influencing public perception and shaping reputations. Editor: The circulation aspect makes me think: was this essentially Cardinal Altieri’s official PR headshot? Sort of his calling card for the masses? He definitely exudes this formidable energy…maybe even a bit menacing? Though I suppose it depends on whether you were in his favor! Curator: Absolutely. This engraving plays directly into how Altieri and, later, Pope Clement X wished to be seen. It’s a curated image for public consumption. A lot of visual cues that signal authority and intelligence, conforming to the standards expected by his circle and the broader public of the period. Editor: So it’s a piece of propaganda, in a way. Which isn't necessarily a bad thing! It’s fascinating to see how even something as seemingly straightforward as a portrait engraving can be loaded with layers of social and political meaning. Curator: Exactly. By analyzing those layers, we begin to understand how images like this shaped history, confirming values and preserving institutional power. Editor: It's always thrilling when a seemingly simple image like this engraving ends up having so many hidden depths. It reminds you to question what you’re seeing on the surface and look at what lies beneath.