Portret van Stefano Zannowich 1755 - 1840

This engraving of Stefano Zannowich was made by Jean Marie Delattre sometime between the late 18th and early 19th century. It captures the likeness of a somewhat obscure figure: a self-styled Albanian prince. The portrait is framed by symbols of Zannowich’s social world. An inscription in Italian celebrates his military achievements, while also lamenting his ill-fated destiny. Surrounding the portrait itself, we see a laurel wreath, as well as a heraldic crest and what appears to be a musical instrument. The very existence of this print suggests that Zannowich sought to cultivate a specific image of himself for public consumption. To understand this artwork fully, we must consider the politics of imagery in 18th-century Europe, where printed portraits helped to consolidate social status. We might ask: What kind of patronage system enabled its production? And what historical narratives did Zannowich wish to promote through its circulation? Answering such questions requires delving into the archives, examining the publishing industry of the time, and situating Zannowich within a broader network of social and political relations.