Portret van Johann Klein 1674 - 1749

Curator: Here we have an engraving titled "Portret van Johann Klein." It dates to the period of 1674 to 1749, and it comes to us from the hand of Heinrich Jakob Otto. My focus goes to the man. Editor: My eye immediately darts to the lettering framing his portrait; it reminds me of stone carvings from some historical marker, serious business back then. His hair—the wild wig—that says something else entirely! Curator: The use of engraving techniques allows for fine detail in representing textiles. It reveals the wealth and status connected with garments in the portrait’s composition. That hair isn't just wild; it's a *wig,* manufactured luxury for displays of authority. Editor: Good point. There is a kind of calculated power—carefully, literally *constructed* by its wearer, made available through particular technologies and means of display—but, gosh, look at those little cherubic lips. I feel an impulse to tease! Does the work try *too hard*? Curator: You have that combination of formality and manufactured prestige of the Baroque. If we think of the process—engraving lines upon lines—we see labor reproducing social hierarchy and its representative ideology through accessible art prints. This allowed even the relatively ordinary folks a glimpse into upper-class lifestyles and self-images. Editor: Hmm, to give the everyday observer the experience of glimpsing? So this engraving served not merely to mirror existing society, but it reproduced society through spectatorship, one available through purchase. Curator: Precisely. The work is fascinating when considered from those critical angles about value and status. Editor: It really gets one pondering appearances in our present era of hyper-image making, too!