J. A. Riis 1847

Editor: This is "J.A. Riis," a lithograph from 1847 by Emil Ditlev Bærentzen. It has a rather somber and dignified mood about it. What I find interesting is how the image emerges from the soft shading; it’s almost as if it is appearing from nothing. What do you see in this print? Curator: It's intriguing to consider this print through a materialist lens. Lithography itself, invented relatively recently then, democratized image production. Think about the social implications; who had access to this image, how many were produced, and how was it distributed? It impacts how we view both the subject and the artist. What can the materiality tell us? Editor: So you’re less concerned with the likeness itself, and more about what making and distributing this likeness *meant* at the time? Curator: Precisely! Bærentzen could quickly reproduce multiple images using this newly available method, which alters how we view traditional notions of portraiture. This isn't an exclusive painting commissioned by a wealthy patron; it’s an artifact of burgeoning image culture. How does knowing it’s a lithograph shape your understanding of its value? Editor: I suppose it makes the subject less of an elevated individual and places him in a context of mass production and accessibility. Something to consider, especially since this was before photography really took off! Curator: Exactly. Think about the labour involved. The artist is now, in part, a technician navigating a mechanical process, which certainly shifts their position within society as well. We are looking at material and labour meeting portraiture. Editor: I’ve definitely gained a new perspective on how the mode of production changes my view of the art itself and its meaning. Thank you. Curator: And I hope that by looking at materiality and methods, others can find new ways to view seemingly straightforward art.