Portret van Jacob Conrad Brunner 1673 - 1740

Editor: Here we have Johann Georg Seiller’s engraving, “Portret van Jacob Conrad Brunner,” dating somewhere between 1673 and 1740. It's got this really ornate, almost regal feel to it, but I'm struck by the oval frame within the rectangular print. What significance do you think the frame might hold? Curator: Notice how the text encircles Brunner’s portrait, framing not just his face but also his titles and status. The oval is interesting because it becomes a holding shape, evoking a jewel, reliquary, or heraldic shield; we're dealing with power, academia, and medicine, notice the snake twined around the staff? This shape speaks volumes. How does that association sit with you? Editor: That makes a lot of sense. It does seem to solidify his importance. But the contrast of it being in the overall rectangle seems strange. Almost like the round is trapped in the new ideas of printmaking. Curator: Precisely! Think about the tradition of portraiture versus the relatively newer technology of printmaking at the time. The print democratized imagery but maintained, or perhaps even amplified, the symbolism associated with the sitter. The image would travel further than any painting! Consider how portraiture serves as a cultural memory, shaping perceptions of individuals. Can you see echoes of similar strategies used even today? Editor: Wow, that's a great point. You see it everywhere with celebrities, it is carefully placed to cultivate a perfect impression through symbolic messaging. Curator: Absolutely! Seiller, consciously or unconsciously, utilizes and extends earlier conventions of symbols through printed matter and multiplies them beyond any Baroque frame. Understanding the iconographic tradition unlocks a deeper appreciation of its meaning. Editor: I never really thought about prints being that layered with symbolism. Thank you so much for walking me through that! It gives me a whole new lens to look at portraiture through.