Portret van William Russell, 1e graaf van Bedford 1736 - 1738

Editor: We’re looking at "Portrait of William Russell, 1st Earl of Bedford," an engraving from the late 1730s by Jacob Houbraken, currently housed in the Rijksmuseum. The ornate framing gives the piece an almost theatrical feel. How do you approach an engraving like this from a formalist perspective? Curator: Indeed. What strikes me first is the contrasting textures achieved solely through the manipulation of line. Consider the softness of Russell’s hair versus the crisp detail of his lace collar, and then contrast both with the more diffuse drapery surrounding him. These differences, created entirely by the density and direction of the engraved lines, are structurally key to understanding the visual dynamic of the composition. What are your thoughts on this strategy? Editor: I find the figure of the cupid striking. The spear feels like an imposing intrusion and directs my sightline to the figure’s face. Curator: Precisely. The figure creates a distinct diagonal thrust that counters the curvilinear forms dominant elsewhere. Its inclusion, compositionally, introduces a significant point of tension and asymmetry. Can you see how, without this dynamic element, the composition risks becoming static? Editor: Yes, I can see how that directs the viewer's eye, providing that contrast. I never would have seen so much complexity if I didn't spend some time thinking about those features in particular. Curator: Engaging with the art in this way, you find the beauty. The composition itself then serves as the point of focus, highlighting not just _what_ is represented, but, more importantly, _how_ it's brought into being, and the choices made when translating that perspective to form.