Portret van pater Joannes Fernandé before 1749

Editor: So, here we have “Portret van pater Joannes Fernandé,” a print made before 1749 by Peter (III) Casteels. It's a striking image – the man's garb blends what looks like Asian and European elements. How would you read this piece? Curator: From a materialist perspective, it's fascinating. Consider the act of engraving, a process reliant on labor and access to specific tools. This print wasn't just aesthetic; it was reproducible, making it a commodity, potentially spreading ideas or bolstering the sitter's image across vast distances. What does it mean to disseminate an image like this, given the sitter's obvious cultural hybridity as represented by his dress and the presence of both European and Asian text on the plate? Editor: That's interesting. So, it's less about the artistic expression, and more about…the printing press as a vehicle of cultural exchange? Curator: Precisely! It pushes us to think about how images are made, distributed, and consumed. The paper itself, the ink, the skilled labor of the engraver—these are all vital components. Where was the paper sourced? Were there watermarks? The layering of cultural elements becomes a conscious choice, given that producing this image demanded significant material investment. Editor: I hadn't considered that the very act of making it contributes to its meaning. I suppose I get so caught up in the symbolism and Baroque style, I lose sight of that. Curator: The process is the point! By deconstructing its production, we can start unpacking broader issues of cultural appropriation, colonialism, and the economics of image-making at that time. Editor: So looking closely at the materiality is a key to understanding how power structures shaped the art? Curator: Absolutely. Materiality speaks volumes about cultural forces at play, inviting us to move beyond simple aesthetics and dig into what the creation of this image represents. Editor: I will never look at prints the same way! Thanks for a new perspective.