Portræt af digteren Johannes Ewald (1743-81) 1779

Editor: So, this is J.F. Clemens' "Portræt af digteren Johannes Ewald (1743-81)" from 1779. It looks like it's a drawing, using charcoal and pencil. I find it so delicate and evocative. What strikes you when you look at this piece? Curator: I'm drawn to the artist's process and material choices. Consider the economic reality: Clemens, as an engraver, would have readily had access to these drawing materials, relatively inexpensive means to produce an image that could then serve as a model for a print, intended for wider distribution and consumption. Editor: That’s interesting – so it wasn't necessarily about creating a precious, unique object, but more of a step in a process? Curator: Precisely. How does the roughness of the charcoal, versus the fineness of the pencil, affect your perception of the Romantic era it's placed in? Do the means and material used speak about accessibility of image making and dissemination to a wide population? Editor: I never thought about it like that. It seems to democratize art-making, making portraits less reliant on expensive painting. That actually fits with the Romantic ideals of individual expression, available to more people. Curator: And what might Ewald's status as a celebrated poet contribute to our reading of this portrait as a commodity? Does it elevate its market value, given its association with a figure already known and esteemed in society? Editor: I suppose his image has inherent value for his followers, and reproducing it makes him more available, while generating work for the artist. I hadn't thought about the relationship between the artistic process, access, and fame in this way. Curator: It's all interconnected! Examining art through its materials and means of production opens up interesting avenues to think about artistic intentions, accessibility, and how art circulates within a society. Editor: Exactly. I'll definitely be thinking about materiality more critically in my own work.