Portret van Nicolas de Nicolai, markies van Goussainville 1666

Curator: This engraving presents a portrait of Nicolas de Nicolai, Marquis of Goussainville. It dates back to 1666 and was created by Antoine Masson. Editor: He looks so… contained, doesn’t he? Like he’s barely tolerating being stuck in that oval frame with all that text swirling around him. The sheer volume of that hair is something else, too—almost comical, but then you see the seriousness in his eyes. Curator: The Baroque era favored grandeur and dramatic expression, and portraits were essential for conveying social status. Masson’s choice of engraving on paper highlights the precise detail that was highly valued. Editor: All those tiny, etched lines—imagine the patience! And it's all in shades of gray, which focuses your attention so much more on texture and form. It's more honest, somehow, than if it were full of color. Curator: Precisely. And it isn’t just a pretty picture, or indeed ‘honest’ – Nicolas de Nicolai was a very senior figure in the French financial administration and parliament, whose family originated in Lyon. This engraving broadcasts his official stature in a world saturated by court portraiture and representation. Editor: Well, he looks more ‘burdened’ than 'important,' really. Perhaps a little world-weary behind all that Baroque swagger. And that coat-of-arms feels a bit too decorative; more about aspiration than belonging. Maybe he really felt trapped in that gilded cage. Curator: Whether literally imprisoned by wealth and titles is perhaps overstating his dilemma, but as ever, artists often communicate powerful messages whether advertently or otherwise about society and how it is ordered. Here, we glimpse behind the façade of court portraiture – or at least feel as though we do. Editor: Right. In a way, the technical brilliance serves to underscore that feeling of something unsaid. Art for powerful effect in the long run. Curator: Yes, there's a tension between ostentation and something almost melancholy. A visual paradox. Editor: Nicely put. It’s fascinating to think about what such formality hides – or hints at.