Anne-Sophie Herbert, comtesse de Carnarvon 1605 - 1650

Editor: This print is an engraving dating from sometime between 1605 and 1650, titled "Anne-Sophie Herbert, comtesse de Carnarvon" by Jean Morin. It's housed at the Met. I find the ornate framing device striking – what's your take? Curator: You know, the frame feels less like a boundary and more like a stage, doesn’t it? It's a portrait, of course, rooted in Baroque ideals, but look at her gaze! There’s a real sense of… inquiry, almost like she's peering out, assessing *us*. Do you pick up on that too? It's quite unusual in these formal portraits. Editor: Definitely! It almost makes her feel less like an object to be admired and more like a person with her own thoughts. Tell me more about why you say it's rooted in Baroque ideals. Curator: The Baroque loved drama, grandeur, emotion. Note the opulent fabrics implied even in an engraving. The loose, cascading curls—everything contributes to a sense of movement and life. Though it's a print, a *reproduction*, the quality of line creates volume, highlights and shadows, drawing you into her presence. Doesn't the texture just pull you in? Editor: It does. I hadn’t really considered that engravings could have that level of detail. I was thinking of it more as flat, but it really does have depth. Curator: It’s interesting to consider the role of prints like this. They made portraits like this, which were often exclusive to the elite, accessible to a wider audience. A way of distributing status, power... and perhaps a hint of envy. And it makes you wonder: what would the *comtesse* herself have thought? Editor: I'll definitely be thinking about that – about the relationship between access and power in art. Curator: Me too! Always such lovely mysteries lurking beneath the surface!