Portret van Matthias Maximilian von Parasin after 1638

Curator: Here we have "Portret van Matthias Maximilian von Parasin", an engraving made by Peter Troschel sometime after 1638. It strikes me as a really good example of Baroque portraiture, quite typical, I suppose. Editor: Yes, very much the standard fare in terms of composition, yet, I'm immediately drawn to the incredibly precise work with lines. Look how Troschel rendered the textures, especially in the sitter's robe, turning the humble copperplate into something sumptuous! Curator: Indeed, and you can clearly see how the choice of materials influences the reception of this portrait. Matthias Maximilian von Parasin probably wanted to project an image of power and sophistication that an engraving can’t quite capture compared to a painted portrait, no matter how skilled the artist. I’m curious about the choice to have the book clearly marked “Biblia.” How much did Troschel manipulate reality for public perception? Editor: Perhaps a lot. Remember, prints like this circulated widely, shaping public opinion of figures like Parasin. The inclusion of the Bible certainly positions him as pious, maybe even learned, irrespective of his actual religious commitment. Plus, there’s that lovely curtain backdrop and the implied column suggesting classical virtue. The staging is deliberate! Curator: Do you think Troschel faced constraints in his labor or the cost of materials? It would be nice to examine the engraver’s process. Were any corners cut to produce these efficiently to maximize profit for himself, or his patron? And it seems relevant to think about who the audience was that consumed it. Editor: Absolutely, and we need to think about where these prints ended up – maybe glued into books, pinned to walls, or used as models for other artists. Each location transforms its meaning, influencing public consciousness and collective memory. Curator: I’m glad we were able to delve into this work today! Editor: Me too; I feel like I better grasp the historical forces at play.