Portret van Clemens XIII 1736 - 1792

Curator: Upon close inspection, the craftsmanship evident in Johann Simon Negges’ engraving, “Portret van Clemens XIII,” executed between 1736 and 1792, truly shines. Editor: Yes, the engraving process allowed for detailed reproduction. Though, beyond its materiality, the subject matter immediately exudes power through classical composition. The ornate frame, those papal emblems. Curator: Agreed. Consider how the engraver uses line and hatching, building tone and volume. This was part of a broader system of visual representation, reinforcing hierarchical structures and legitimizing papal authority. Editor: Definitely, and the frame isn't merely decorative; it serves as a stage, drawing our focus. His gaze seems direct, but is there also a sense of melancholic detachment in those eyes? Curator: Well, engravers often worked from painted portraits, reproducing and disseminating likenesses to broader audiences. The social function, making the Pope visible and present across geographical space, is central to its creation. Editor: The academic style with its clean lines feels rather static. Is this the artist's personal interpretation, or more a standardized representation fitting papal protocol? Curator: Good question. This gets to the issue of authorship. Negges’ role becomes interesting here. While technically the ‘artist,’ he's translating an image. His labor is essential but framed by pre-existing structures of power and visual language. Editor: It is definitely an echo then rather than an expression, but a beautifully made echo that now has a history all its own, layered on time. Curator: Absolutely. By emphasizing the means through which this portrait came into being, we understand its deeper connection to material practices, social status and power relations. Editor: Understanding these aspects shifts how we perceive its surface.