Portret van David de Haen 1758

Editor: This is Cornelis van Noorde’s “Portret van David de Haen” from 1758, an engraving housed at the Rijksmuseum. There's a subtle dynamism to the sitter and it also strikes me how detailed it is for an engraving. What aspects of this artwork capture your attention? Curator: Considering Van Noorde's work here, the engraving itself is where my eye is drawn. We're looking at a print, a reproducible medium that democratizes the image. How does the process of engraving—the labor involved, the tools used—influence your understanding of the portrait? Does the materiality change how you perceive David de Haen's status or legacy? Editor: That's a fascinating point. I hadn't thought about how the engraving process affects the art itself. Thinking about the tools needed—the metal plate, the burin—highlights the skill and effort to create this portrait. In what ways does this particular technique, engraving, affect its consumption by the wider public at the time? Curator: Precisely! The reproducibility inherent in engraving meant it circulated among a broader audience than a unique painted portrait ever could. Who owned these engravings, and what does their presence in domestic spaces, as opposed to aristocratic collections, suggest about the shifting appreciation of art? It brings into focus questions of class and consumption. Editor: So, you're saying that the material and the means of its production gives an entirely fresh outlook? The artwork as a cultural and even a social artefact... Curator: Exactly. It’s not just about de Haen's likeness, but also the entire social life of the artwork and the hands that shaped it. It pushes us to think beyond just aesthetics. Editor: That is so useful, thinking about not only how this was made but where it ended up! Thank you, this has truly been enlightening!