Portret van Marius Ambrosius Capello 1642 - 1685

Editor: Here we have Conrad Lauwers' "Portret van Marius Ambrosius Capello," an engraving from the period 1642 to 1685. It feels very formal, almost staged, because of its traditional composition and serious tone, and of course, the graphic quality given that it's a print. What can you tell me about it? Curator: Looking at the material processes employed here—the very act of engraving, the multiplication of images it enables—allows us to see beyond the sitter's clerical status. Think about the labor involved, the skilled hands meticulously etching the copperplate. What were the social conditions that supported such skilled artisans? The consumption of such prints was fueled by new markets where these engravings were in demand. Editor: That's interesting. So it's not just about portraying an important person, but about the business of making and selling images? Curator: Exactly. The materiality of the print, its existence as a multiple, cheapens and democratizes the image. This challenges any idea that this portrait serves exclusively to reinforce Capello's authority. The engraving style, and mass distribution made them cheaper than hand painted works, expanding accessibility for various consumers in society and their place of consumption. How does this affect your reading of his expression, knowing that potentially hundreds of people could have owned this image? Editor: It definitely makes him seem less untouchable. Thinking about who owned these prints… regular people looking at this Bishop. It really does change things! Curator: Indeed. By considering the print's means of production and circulation, we uncover complex social relationships that extend beyond the traditional scope of art historical analysis. It is very exciting isn't it! Editor: Definitely gives me something new to consider when looking at older art! Thanks.