Portret van de schilder Hermanus van Brussel c. 1860 - 1900

Curator: Oh, I do love stumbling across an artist representing another artist! There's something beautifully self-referential about it. Editor: Agreed. This is "Portret van de schilder Hermanus van Brussel," dating from around 1860 to 1900. It's an etching. Curator: Etching, yes! I adore the texture! The detail! Tell me, does anyone else find themselves mesmerized by neck ruffles? And what an intriguing gaze! Almost… quizzical? As if he's challenging us, saying "Well, what do you make of *me*?" Editor: The work does present a particular image of masculinity during this period. He’s self-assured, poised, every inch the professional… Curator: But look at what's lurking behind him! Is that a canvas? An easel? Oh, but I can’t shake this feeling he’s about to share some juicy gossip from the art world! Or maybe he is merely longing for a time he could paint landscapes en plein air rather than attend another stuffy salon! Editor: It speaks to the growing professionalization of the art world and what was being created simultaneously with systems of patronage. The presence of these creative tools definitely signifies Hermanus van Brussel's professional status. Curator: Exactly! And do you find his posture, slightly turned, to have any bearing on class dynamics? Because it doesn't exactly come across as nonchalant... more posed, almost as if saying: 'Look at the artistry in both of our trades!' Editor: Perhaps it suggests both pride and a certain defensiveness? Being both the subject and the artist's peer… The artistic field during this time definitely carried weight and value judgments regarding occupation and position. Curator: A truly captivating etching… One gets quite a look at life behind those brushes... Or, I suppose, etching tools here. Editor: Yes, It is a powerful look into how class identity and creativity were being constructed.