Elisa Baciocchi, Princess of Lucca and Piombino, Grand Duchess of Tuscany 1804 - 1814

Editor: Here we have "Elisa Baciocchi, Princess of Lucca and Piombino, Grand Duchess of Tuscany," created between 1804 and 1814 by Giovanni Antonio Santarelli. It's a delicate relief sculpture, currently housed at The Met. The profile portrait gives off a neoclassical, almost cameo-like vibe. What do you see in this piece, something perhaps I’ve overlooked? Curator: Ah, Elisa, Napoleon’s sister. Talk about power dressing! What strikes me is how this isn’t just a portrait; it’s a carefully crafted message. The Neoclassical style, that cool, calm demeanor – it's all about projecting an image of stability and authority during a time of immense political upheaval. What do you make of that severe profile? Editor: I can see how the style would communicate power, and the black background gives a sort of dramatic austerity to the piece. But what exactly was Santarelli trying to get across? Was he more concerned with glorifying Elisa or capturing a likeness? Curator: It’s a tightrope walk, isn’t it? Likeness versus idealization. I see more about brand management, how she wants to be seen. Notice how he frames her, literally and figuratively? It’s about controlled visibility, showing enough to entice, but concealing any imperfections to project the Bonaparte Dynasty as one of elegance and refinement. Now that's worth pondering. Editor: I guess I didn’t think about the control that goes into portraying someone like that! It feels more like propaganda than art, even. Curator: All art is propaganda, to some extent, my friend! Even when it’s trying to tell you it isn’t. The question is, what’s it selling? And are we buying it? This piece has given me plenty to think about, thanks! Editor: Definitely a new way to see portraiture, and propaganda, I agree.