Portret van Adam von Bartsch 1804 - 1842

Editor: Here we have a portrait of Adam von Bartsch, an etching made by Heinrich Gustav Adolf Leybold, sometime between 1804 and 1842. It's quite austere, a man framed in an oval. The linework is so delicate. What captures your attention in this piece? Curator: Ah, yes! It’s as though time has settled on this print like dust, hasn't it? Look closely; it's not just a portrait, it's a whisper from a world obsessed with order, reason... neoclassicism at its most buttoned-up. I sense Leybold's own ambivalence—dutifully rendering Bartsch, yet subtly, almost invisibly, yearning to break free from such rigid forms. Editor: I see what you mean. It's almost…clinical? Did the subject's status affect how artists approached these portraits? Curator: Absolutely! Bartsch was a powerful figure in his own right, head of the print collection at the Albertina. I wonder if Leybold felt pressure to portray him in a certain, authoritative light, suppressing a potentially more vibrant interpretation? Notice how every line, every shadow is carefully considered. It almost lacks breath. What would happen if we scribbled a bit here, broke the oval, wouldn't it be fun? Editor: Perhaps. The precision is interesting, though. Is it purely Neoclassical, or is there something else at play here? Curator: That’s the beautiful paradox, isn't it? This precision hints at a deeper longing. What did it mean to portray a person, especially one of influence, in such a calculated era? Did the subject consent to this picture of himself? We may not have the answers now, but it's fascinating to reflect. Editor: So, this isn't just a likeness, but also a time capsule, a glimpse into the dynamics between artist, subject, and the artistic conventions of the time. Thank you for shedding a new light on it. Curator: Absolutely! Now I cannot unsee this; and I am already curious to ponder on a different piece of work, this way of thinking. It’s not just about seeing but about seeing through the surface.