Portret van Frederik Hendrik, prins van Oranje c. 1770 - 1812

Editor: Here we have François Robert Ingouf’s portrait of Frederik Hendrik, Prince of Orange, dating from around 1770 to 1812. It's a print, an engraving, and I’m immediately drawn to the sheer detail achieved through that process. What strikes you about this particular piece? Curator: For me, the critical entry point is the means of production: engraving. Look at the labour involved in creating the intricate lines, the material realities of the copper plate, the acid, the paper. The process transforms Frederik Hendrik into a commodity, available for mass consumption. How does that democratisation, achieved through these specific materials and this labour, alter our perception of power? Editor: That’s a really interesting point, about mass consumption. I hadn't considered the role of printmaking in potentially democratizing images of power. How does the baroque style affect your materialist interpretation? Curator: Baroque, here, serves to amplify the spectacle. It directs attention to the *surface* - to the material extravagance of the lace collar and armor. It becomes a record of the consumption practices of the elite. Do you think the style enhances the print's function as a reproducible object, easily disseminated amongst different social strata? Editor: Perhaps the style lends it a certain gravitas, adding to its authority, making it desirable. I’m thinking about the artist and his own role in the production and distribution of this piece. Curator: Precisely! Ingouf’s labor, embedded in every line, contributed directly to the economy surrounding representation. And considering the historical context, this wasn't just art. These prints functioned as propaganda, solidifying the prince’s image in the burgeoning Dutch Republic. Editor: So much to think about when you look at it from a materialist perspective! Thanks for that insight.