Johann Jakob Mettenleiter en Johann Elias Haid bekijken prenten aan tafel 1784

Editor: We’re looking at "Johann Jakob Mettenleiter en Johann Elias Haid bekijken prenten aan tafel," a print from 1784 now residing at the Rijksmuseum. The artist, well, I guess it’s Johann Elias Haid, is depicting himself with another man. It feels so intimate, almost like eavesdropping on a private conversation, and yet, posed at the same time, don’t you think? What catches your eye when you look at this, aside from the intense eye contact? Curator: Intimacy posed, exactly! That push-pull between staged and real life… it's delicious. Look how deliberately Neoclassical it is. Every detail seems chosen, right? From the wall of artworks to the gentlemen’s coats, everything has intent. But the interesting part, for me, is that this *is* Haid. He's etching himself into history. It makes you wonder what stories he is trying to weave about his importance as an artist, doesn't it? Editor: Totally. It's like a 18th-century art world selfie! The seriousness on their faces too. Is it just me, or do they seem almost burdened by the weight of art history? Curator: Oh, absolutely, or by the burden of crafting the desired legacy! This piece presents as more than a portrait, though it seems the goal might be to subtly assert themselves as figures within the same trajectory represented on the walls. I wonder: If you were to be depicted looking at art, what would surround *you*? What environment would best broadcast *your* intent? Editor: Ooh, good question. I think it'd involve a lot more coffee and probably less classical art! This conversation made me rethink the relationship between artists, self-portraits, and history, really. It isn't as straightforward as you would imagine it is. Curator: Exactly! Art's never just *there*; it is always layered with the intent, perception and presentation. Now I'm off to manifest some intent!