Georg Olinger, 1487-1557, Apothecary [obverse] 1556

Editor: This is a metal medal, titled "Georg Olinger, 1487-1557, Apothecary [obverse]", created in 1556 by Joachim Deschler. The texture and detail are impressive for such a small object! What significance did these kinds of portraits have during the Renaissance? Curator: These portrait medals gained popularity as ways of commemorating individuals, often those of status or accomplishment. In essence, it's an early form of public image-making. Editor: So, like a Renaissance headshot? How did portraying apothecaries fit into that culture of status? Curator: Exactly! By the mid-16th century, apothecaries were respected figures with significant civic roles. This medal elevates Olinger and broadcasts the social value of his profession. Look at the inscription – it likely details his titles or affiliations. This medal would have been displayed or exchanged among Olinger’s peers and those who wished to align themselves with him. Editor: Interesting! It really underscores how art isn't just "art," but also a form of communication deeply intertwined with social power. Curator: Precisely. It also gives you some insight into the developing self-awareness of the merchant class at that time. Olinger felt it necessary to have his image circulated publicly, beyond his circle of family and friends. Why do you think he wanted to do that? Editor: Maybe to solidify his legacy, or promote his business and social standing? It’s fascinating to consider how such an object can reveal the cultural values of the time. I never thought about how image-making was already strategic back then. Curator: Exactly! Seeing art as a form of social currency or capital allows us to see the past through a totally new lens.