Armand Jean du Plessis, Cardinal Richelieu 

Curator: Here we have Michel Lasne's print depicting "Armand Jean du Plessis, Cardinal Richelieu." It's an engraving, likely dating from the 17th century, given the stylistic features. What are your initial thoughts? Editor: Austere. And rather…calculated, wouldn’t you say? That steely gaze could cut glass. Makes me want to double-check I’ve filed my taxes. The craftsmanship, though—exquisite! Look at the details in that laurel wreath. Curator: Indeed, the line work is remarkably precise, typical of Baroque engravings. It was a medium that allowed for mass production, and portraits like these circulated widely, disseminating power and influence. It speaks volumes about Richelieu's desire to cultivate his image. Editor: Absolutely. Image management was everything, wasn't it? He practically invented spin! Though I do wonder what the intended audience thought. Were they buying into this representation, or seeing through the charade? I suspect a bit of both, spiced with healthy skepticism. And "Semper Idem," Always the Same, written at the bottom, rings almost ironically with how he pulled all of France’s strings. Curator: The inscription, the books at the bottom—they reinforce his intellectual and political authority. Each element meticulously chosen. Lasne was a skilled craftsman, trained within a well-established workshop system. The production and consumption of these images formed part of a complex economic and social network. Editor: He does project an aura, doesn't he? Maybe it's the slight smile—suggests he knows something we don’t. It’s like he’s saying, "Go ahead, try to figure me out.” Even printed, that sort of authority emanates off the work! Makes me question my own intentions when approaching this as well. Curator: Ultimately, it becomes about power dynamics: who gets represented, how, and for what purpose. Considering the mode of production—the labor of the engraver, the networks of distribution—reveals the power dynamics embedded within the image itself. Editor: True. We are not just observers; we’re part of its ongoing story, aren't we? Thinking about those historical viewers gives me a new lens. All those copies circulating – like whispers in corridors of power. Thanks for adding a different dimension to Richelieu's tale. Curator: My pleasure. These material considerations deepen our appreciation, and questioning around these printed images allows us to analyze all of the threads involved.