Portret van Edmund van Dinter 1604 - 1608

Editor: Here we have "Portret van Edmund van Dinter" by Philips Galle, created sometime between 1604 and 1608. It's an engraving. The incredible detail for a printed image is striking. What's your perspective on this piece? Curator: I see this as a potent representation of the relationship between labor, artistic production, and the construction of historical narrative. Consider the engraving process itself: the intense labor of the engraver to translate an image, the material production of the print allowing for wider distribution, and then, crucially, the text framing Dinter as Brabant’s historiographer, effectively crafting his legacy. Editor: So you're less focused on Dinter himself and more on the means of creating and distributing his image and, by extension, his reputation? Curator: Precisely. We must ask ourselves: what social function does this portrait serve? Is it pure representation, or is it actively shaping and controlling how Dinter is remembered? Think about the cost and time involved in commissioning and producing an engraving like this. Who was its intended audience, and how did that affect its production? The materiality speaks to issues of class, patronage, and power dynamics. Editor: I never really considered the role of labour in older prints before, I was too caught up in symbolism and iconography! This definitely provides new perspectives on this engraving. Curator: Exactly. By interrogating the production process, the materials, and the context of consumption, we gain a far richer understanding than just aesthetic appreciation allows. Look, for example, at how the print flattens the tones - likely done to simplify and accelerate the engraving. A compromise to speed the manufacturing of Dinter’s public image. Editor: That makes total sense. Looking at this engraving again through a different lens changes my perspective of old masters!