Silhouetportret van Karl Theodor von Dalberg 1775 - 1840

Editor: Here we have Ernst Ludwig Riepenhausen’s "Silhouetportret van Karl Theodor von Dalberg," made sometime between 1775 and 1840. It’s an engraving, a style of print, with clear neoclassical influences in its geometric composition. It feels so formal and austere to me. How would you interpret this work? Curator: What I find fascinating about this piece is the silhouette itself, and how its popularity coincided with significant socio-political shifts. Silhouette portraits became incredibly widespread as a relatively inexpensive and accessible alternative to painted portraits, opening up portraiture to a broader public. Editor: So, this engraving democratized image-making and access? Curator: Precisely! It moved portraiture away from the exclusive domain of the aristocracy and wealthy merchants, even though it still retains the rigid conventions of portraying authority. Consider the laurel leaves. Editor: Those remind me of Roman emperors. What's the significance of that choice? Curator: Exactly! The print's format attempts to elevate the sitter while remaining in reach for a growing middle class asserting itself in society. The geometric order isn’t merely aesthetic; it's asserting stability and hierarchy during an era of revolution and change. How do you see the setting affecting the viewer today? Editor: I see how neoclassical style with new print technologies, influenced the accessibility of images of public figures! The print allows people to think more about power and representation. Curator: Absolutely. Thinking about access and who gets represented forces us to acknowledge both the democratizing potential and the continued power dynamics embedded within art.