Portret van Dirk Hoitsma 1797

Curator: This engraving, "Portret van Dirk Hoitsma," made in 1797 by Noach van der (II) Meer, certainly sparks a range of thoughts. It's more than just a representation of a person; it’s a crafted object with clear social intentions. Editor: It's fascinating how an engraving on paper, a seemingly simple medium, can depict so much. What do you see in this piece, particularly given the context of its making? Curator: Let's look at it through a material lens. Engraving was a relatively accessible means of production compared to, say, painting. Consider the labor involved, the skilled hands meticulously carving lines into the plate. These lines were then filled with ink and transferred to paper. This reproducibility democratized the image, taking portraiture outside of oil painting which was accessible for the few that had excess money. Given the text in the lower section, can you deduce the intention? Editor: Well, the text, in Dutch, seems to associate Hoitsma with figures like Brutus and Cicero, figures of civic virtue and resistance to tyranny. Curator: Precisely. The choice of engraving facilitated the spread of this association, turning Hoitsma into a symbol. The artist utilizes these cost-effective means for making and disseminating powerful statements. How then does the labor behind producing and making the portrait as an engraved image intersect the statement that it is trying to convey? Editor: It suggests a strategic intent—a conscious decision to utilize a more democratic and replicable medium. If the artist’s goal was to have these views and portrait more available to be consumed by the Dutch populace, and therefore creating a means for accessibility and accountability, then using engravings seems intentional to serve those needs. Curator: Absolutely. Editor: That’s insightful. Considering the materiality helps uncover a whole other dimension of social activism that’s less apparent on its surface. Thanks!