Portret van Antoine Furetière after 1688

Editor: This is a portrait of Antoine Furetière, engraved after 1688 by Mathieu Boulanger. It's a print, so it's fascinating to consider how accessible it could have made Furetière's likeness. What aspects of the image stand out to you? Curator: As a materialist, I’m immediately drawn to the printmaking process itself. Consider the labor involved in creating the engraved plate, the physical act of transferring the image. How does the act of replicating Furetière impact his image, or his persona? Editor: That’s interesting. It definitely separates the portrait from painting. So, are you saying the means of production change our understanding of who he was? Curator: Precisely. Think about who had access to engravings. Was it a wider audience than oil paintings, democratizing representation? Or was the quality or type of paper a statement about the portrayed's standing? We must look at who consumed these images and why. Editor: It’s almost like the medium itself carries meaning beyond the subject of the portrait. I suppose different qualities of the print meant different things to the consumer as well? Curator: Exactly! What class, trade, or affiliation did each buyer come from? It would certainly tell a different story depending on the specific audience, wouldn't you say? Editor: Absolutely. Viewing art this way allows to imagine new layers of context in these works. It reminds us of the broader reach the work might have had, compared to one of a kind originals. Curator: I agree. Materiality shapes meaning; it is embedded in social dynamics of the era. We’ve moved beyond merely aesthetic appreciation toward understanding art's role within networks of labor and value. Editor: I am definitely going to start thinking about the lives these pieces lived and what kind of impact it had. Thanks!