Portret van bisschop Jean-Baptiste Massillon 1820 - 1827

Editor: Here we have "Portret van bisschop Jean-Baptiste Massillon," an engraving by Jean Pierre Sudre, dating from 1820 to 1827. It’s monochrome, a classical portrait, very simple, really. What catches your eye about this piece? Curator: As a print, its existence speaks volumes about accessibility and the democratization of images. How was this portrait distributed? Was it intended for the masses or a select, perhaps religious, audience? The material reality of the engraving, the labour involved in its production, that’s where the real story lies. Editor: That's an interesting perspective. I was focused on Massillon himself. So, you're thinking about the production process rather than just the subject? Curator: Precisely. Think about the engraver's tools, the paper, the ink - each component sourced and manufactured, playing a crucial role in disseminating this image of authority. How does the relatively accessible nature of printmaking challenge the perceived power of the church figure depicted? Editor: I see what you mean. It makes you think about how power and image control were changing at that time. Did the church commission works like this to propagate certain messages? Curator: Often, yes. Printmaking was a means of mass communication. Exploring that economic relationship tells us so much. Editor: Wow, I never considered all of those aspects when looking at a portrait. I'll definitely look at art differently now. Thanks! Curator: My pleasure! Remember to consider how materiality affects reception. Every art object is more than it seems.