Portret van Thomas Corneille in ovale lijst 1708

Editor: This is a print from 1708, "Portret van Thomas Corneille in ovale lijst," by Simon Thomassin, currently housed in the Rijksmuseum. The textures achieved purely through engraving are incredible – particularly the flowing hair. How would you interpret this portrait, looking at its formal elements? Curator: The portrait's strength lies in its manipulation of line and form. The oval frame, echoed in the curves of the hair, creates a sense of unity. Consider the contrasting textures: the smooth face against the intricately detailed lace collar. This interplay creates a visual hierarchy, drawing our eye to the subject’s face, with particular emphasis on its serene expression, accentuated by light falling upon the facial planes. Notice also how the lettering mimics this effect of roundness and framing. Do you notice other such circular echoing? Editor: The medal below the portrait! The oval form of the portrait is replicated again. But why use the oval? What are we meant to take from that form? Curator: The oval softens the overall composition, imbuing it with a certain grace absent from more rigid shapes. It subtly directs the eye and unifies diverse elements on the page through echoing, as noted before. Consider how this curvature contrasts with the more orthogonal elements on the print, the lower cartouche and the text inscriptions; through its repetition, we understand it as key to interpreting the subject. Do you agree? Editor: Yes, definitely. The roundness feels softer, more approachable. I was so focused on the realism that the subtler repetitions had escaped me! Curator: Indeed, the apparent realism stems from a profound manipulation of form, line, and texture. Appreciating this manipulation deepens our engagement with the piece, doesn't it? Editor: Absolutely, I see the artwork with completely new eyes! Thanks.