Portret van Guillaume Budé c. 1597 - 1599

Editor: This is "Portrait of Guillaume Budé" by Theodor de Bry, made around 1597-1599. It's an engraving. I notice how the intricate details of the fur contrast with the smoother planes of the face. What can you tell me about it? Curator: Notice first the deliberate mark-making; engraving as a reproducible medium served the demands of a rising literate public and, of course, the desire of certain figures, like Budé, to circulate their image. But why engraving? What does the material itself suggest to us? Editor: Well, engraving allows for precise lines and details, but I imagine it requires quite a bit of skill and labor to produce. Curator: Exactly. Think about the engraver’s tools, the copperplate itself. De Bry's labour is bound to the demands of Budé, the humanist scholar. The portrait becomes a commodity, reproduced and circulated. Editor: So, the print is less about artistic expression and more about…production? Curator: Not solely, but it underscores the importance of considering the social and economic factors tied to the artwork. It begs the question, who could afford such things and how would such an image reinforce established notions of status? Consider also the text included—who is its intended audience? Editor: Right, because the text underneath would be geared towards those with an education, probably to an elite group… It gives you a sense of Budé’s intended legacy and how he used this very technology to control his image. Curator: Precisely. The "portrait" isn’t just a representation; it’s a carefully manufactured product embedded within layers of social and economic exchange. By unpacking its material conditions, we illuminate its broader significance. Editor: I'm now realizing that the act of creating this engraving reflects social structures and expectations. Thanks; I’ll certainly think differently about prints going forward!