Gilbert de Choiseul-Praslin, eveque de Comminges 1605 - 1650

Editor: This engraving, dating roughly from 1605 to 1650, is a portrait of Gilbert de Choiseul-Praslin, and it's currently held at the Metropolitan Museum of Art. The level of detail in the face is striking, especially given the medium. It has such a formal and almost austere feeling. What do you make of it? Curator: It’s crucial to see this image within the context of the evolving power dynamics between the church and the French monarchy. Notice the inscription: "Consiliarius Regis," advisor to the King. This engraving highlights the subject’s dual role – a religious figure and a political player. The formality reflects the rigid social structures of the Baroque period. Consider how images like these functioned – less as simple likenesses and more as endorsements of power. Editor: So, it’s less about capturing the individual and more about conveying status? Does the fact that it's a print – easily reproduced – have implications for how widely this message could be spread? Curator: Precisely! Prints allowed for wider dissemination of images, shaping public perception of influential figures like Gilbert de Choiseul-Praslin. It solidifies the relationship between church and state, portraying an ideal for others to follow. Did portraits function differently when widely available versus painted for a select few? Editor: I hadn’t considered the role of printmaking in shaping public image like that. Thanks to that context, I see this less as a simple portrait and more as a carefully constructed message of power and influence. Curator: It is, ultimately, about the intersection of power, religion, and visual culture in early modern France. These images served to solidify the status quo, a complex interplay worth exploring further.