Portret van Auguste Arthur de la Rive 1759 - 1815

Editor: Here we have Heinrich Pfenninger's "Portret van Auguste Arthur de la Rive," an engraving from around 1759 to 1815. It strikes me as a very formal portrait, quite contained within that oval frame. What aspects of the work jump out at you? Curator: The use of line is particularly striking. Observe the density and variation of hatching which create subtle gradations in tone. Note also the way the engraver uses cross-hatching to model the form of the face and costume. Where does the light appear to be sourced? Editor: It looks like the light is coming from the left, creating strong shadows on the right side of his face and wig. Curator: Precisely. And what effect does that light have on the composition and your experience as a viewer? Editor: The light emphasizes the texture, particularly in his wig and the lace details of his collar. It almost brings them to life. It really is remarkable how much form and texture is communicated with what I would describe as a collection of individual lines. What strikes you as most technically impressive here? Curator: I concur with your point on texture. Moreover, observe the economy of means. Pfenninger masterfully suggests the nuances of form and light through careful arrangement and control of engraved lines. One might say the subject's gaze seems to invite introspection from the viewer. This element also enhances the portrait's compositional dynamism. Editor: It's interesting how you focus on the intrinsic visual qualities, detaching it from the social or historical context. Curator: Indeed. To fully appreciate the print we are compelled to closely analyse how it achieves such remarkable qualities through the language of line, tone and form. Editor: That’s a new way of viewing portraits for me! It really focuses my attention on the technique.