Portret van de Franse kardinaal Pierre de Foix 1644

Editor: This is a print from 1644, titled "Portret van de Franse kardinaal Pierre de Foix" by Frans van den Wijngaerde, held here at the Rijksmuseum. The artist used engraving to capture the Cardinal. The piece feels severe, austere even, largely due to the rigid lines and minimal shading, but also, in part, the stern expression of the man. What strikes you about this work? Curator: Initially, it's important to address the method of its construction. As an engraving, its value lies less in the subject, than in the rigorous formal decisions inherent in the medium. We see an assertive clarity due to the very nature of engraving itself, with the network of intersecting lines to establish the planes. Observe how this creates an almost sculptural dimensionality through careful, deliberate manipulation of light and shadow. Editor: So you're more interested in how it's made than who it depicts? Curator: In this context, yes. Consider how the artist used the texture of the lines to articulate different surfaces – the smoothness of the face compared to the woven texture implied in his robe. The precision and control required to achieve this level of detail demand our attention, almost divorced from its representational function. We should ask ourselves how does the mechanical process affect our experience with it? Editor: I never thought about the surface of a print that way. Now, I'm starting to notice all these minute lines; it makes me appreciate the craftsmanship involved. Curator: Exactly. Its intrinsic qualities of line, form, and texture generate meaning, irrespective of any narrative we might impose. It speaks volumes, even silently. Editor: So, by concentrating on the art making decisions, we see this image is so much more than simply a portrait. Thanks for broadening my viewpoint.