Twee inwoners van Lissabon, 1726 1726

Curator: Look at this engraving from 1726, “Twee inwoners van Lissabon” or "Two inhabitants of Lisbon" by Carel Allard, currently held at the Rijksmuseum. The detail captured with such delicate lines! It's amazing. Editor: My first impression is the theatricality. It almost feels like we've stumbled onto a stage during a performance, highlighting, perhaps, the performative nature of social roles. The man, especially, is so proud, puffed up. What story do you think this small format gives way to? Curator: For me, the beauty lies in Allard's command of the engraving technique. The crispness, the contrasting values… notice the textures in the clothing! The lines are so meticulous and well executed. You can tell he used the labor of making such material objects, this baroque-styled aesthetic to offer us an historical reference point, using genre painting to offer insights on social production. Editor: Precisely! This portrait isn't just a snapshot of individuals, but it communicates a lot. Consider, it's titled “Two inhabitants...” which positions them in a particular relationship with the space around them: the society, their surroundings... the background almost flattens to become secondary. Who were these "inhabitants", how did they inhabit their societal place in Lisbon? This work may present an observation of societal hierarchy that reinforces it or questions it? Curator: I find the detail on the textile of the dress fascinating, hinting towards modes of luxury. Allard must have produced such a display to target a noble market segment. Did he perhaps produce a political caricature about bourgeoise’ habits to conform to noble ideals? Editor: Maybe, or is the point more broadly about how societal value, prestige and perhaps beauty, get projected onto certain clothes? In other words, that clothing becomes this visible and legible mark of who can have it, produce it, display it. How about that gesture made by the character on the left? Curator: Absolutely. Her posture seems unnatural. To reproduce such gesture using engraving, must have taken great precision. It might have taken days for an accomplished maker such as Allard to bring to life his imagination. I can't help but be drawn into his labor in material production. Editor: And I cannot but reflect about the potential inherent social critiques. The two characters seem deliberately staged, each holding a stance or prop signifying social belonging, reinforcing a racial and societal gaze... It invites conversations around representation, access, and historical visibility. Curator: Seeing the engraving in light of these different perspectives, does indeed gives "Two inhabitants of Lisbon" such nuance and richness. It becomes a microcosm of the cultural landscape of 18th century Portugal! Editor: Definitely, this little picture keeps growing, it echoes even in our present moment, inviting critical consideration around identity and display in society.