Henri de Beringhen 

Editor: This is an engraving of Henri de Beringhen by Michel Lasne, from sometime in the 17th century. It strikes me as quite formal, almost imposing, with the detailed armour and regal bearing. What do you make of it? Curator: Indeed. These portrait engravings, mass-produced and distributed, were crucial for constructing and disseminating the image of power during the Baroque era. Think of this as early public relations. Who do you believe the target audience was, and what messages do you think the artist sought to convey? Editor: Well, given that engravings could be widely distributed, I imagine the target audience was broad – nobles, aspiring officials, even merchants wanting to be associated with power. Maybe the message was simply: “Here is authority; respect it." Curator: Precisely. And consider how the artist, Lasne, through conventions such as the oval frame, heraldic emblems, and Beringhen’s commanding gaze, participated in solidifying this very idea of "authority" and legitimacy. In whose interest did this system of representation function? Was it just to show who was powerful, or was it trying to affect change through visual persuasion? Editor: So it’s not just about recording history, it's about shaping it. By controlling the images, they controlled part of the narrative. It makes me wonder what stories these images leave out. Curator: Exactly! The visual language reinforces the existing power structure. Studying these portraits lets us unpack how institutions solidify power through carefully crafted public images, prompting crucial questions about visibility and representation even today. Editor: That gives me a whole new perspective. I’ll never look at these portraits the same way again. Curator: Hopefully, this newfound knowledge has spurred you into reflecting more critically on art and power, its connection to society, and its role in history.