Johannes Musculus 1689

Editor: This is "Johannes Musculus," a 1689 engraving by Hubert Schaten, currently at the SMK in Copenhagen. I'm immediately struck by how formal it is – the elaborate oval frame, the inscription, and Musculus himself looks quite serious. How would you interpret the public function of this portrait? Curator: The formal nature you point out is crucial. Baroque portraiture served as a key tool for projecting power and status, deeply intertwined with social hierarchies. Engravings, as printed media, made these images accessible to a wider audience. Consider who is commissioning and distributing such portraits. What is the aim? Editor: So, it's less about personal likeness and more about conveying authority and position? Is the print medium a kind of dissemination of prestige? Curator: Precisely. The image functions within a system of patronage and social mobility. In this case, the inscription tells us that Johannes Musculus worked for the Queen of Denmark and Norway, who therefore sponsored this portrait for the purpose of self-promotion. Notice also the props - that Musculus places his hand on a text suggests knowledge, sophistication and power. To what extent do you see a connection with the Baroque sensibility? Editor: Well, there's definitely the ornamentation, right? And the heavy robes and the wig seem designed to show wealth and influence, fitting the Baroque aesthetic of grandeur and display. I wonder how much the print medium contributes to the overall impact... Curator: That’s astute. Printmaking allowed for the circulation of these carefully constructed images, solidifying the sitter’s reputation and embedding them within a larger network of social and intellectual exchange. Thinking about Baroque print culture, do you now have more questions about the function of this portrait? Editor: Definitely. I now understand that this image is actively participating in a social game. I hadn’t really considered how portraits like these are as much about publicity as personality.