Pierre Lallemant 1678

Editor: This is an engraving from 1678 by Robert Nanteuil, titled "Pierre Lallemant." The crisp lines are just amazing! What immediately strikes me is how meticulously Nanteuil captured the details of Lallemant's face. What do you see in this piece, looking at it through a historian's lens? Curator: For me, this portrait offers a glimpse into the institutional power structures of 17th-century France. Nanteuil, a renowned portraitist favored by the court, wasn’t just creating likenesses. He was crafting and disseminating images that reinforced social hierarchies. Notice the inscription surrounding the portrait. Editor: Yes, it refers to Lallemant as the Chancellor of the University of Paris and Prior of Sainte-Geneviève. Curator: Precisely. The portrait's function was likely to affirm and promote his status within those institutions. The meticulous engraving and distribution of prints would solidify Lallemant's image among the educated elite. Consider how this contrasts with more informal, private portraiture. It speaks to a very public role for art. How might the Latin inscription impact who would engage with this portrait? Editor: It suggests that the target audience was very educated, probably other members of the church or the university. So, this portrait is less about capturing Lallemant's personality and more about broadcasting his institutional roles? Curator: It’s about carefully constructing and publicly displaying an image aligned with the values of his offices. Power, piety, intellect. That is the essence of art serving a social and institutional function. Editor: It is fascinating to think about how much work went into solidifying the sitter's public persona through this image. Curator: Indeed. Thinking about the circulation of images and how they reinforce certain powers is more valuable to me now.