Portret van Johann Marbach c. 1581 - 1606

Abel Stimmer made this portrait of Johann Marbach as an engraving, a printmaking process that demands meticulous skill. The artist would have used a tool called a burin to incise lines into a copper plate. Ink is then forced into these lines, and the plate is pressed onto paper, transferring the image. The choice of engraving is telling. Unlike painting, printmaking allowed for multiples, aligning with the rise of Protestantism and its emphasis on accessible knowledge through printed materials. Look closely at the lines; their density and direction create shading and texture, defining Marbach’s features and the folds of his elaborate garments. Engraving was not just a technical process; it was a means of disseminating information and reinforcing social hierarchies. The act of replicating Marbach’s image speaks to his importance as a theologian and professor, while also reflecting the growing power of the printing press in shaping public opinion during the Reformation. By understanding the materials, the making, and the context, we move beyond mere representation and glimpse the social fabric of the time.