Portret van Georges d'Amboise, aartsbisschop van Rouen 1682 - 1730

Editor: We’re looking at "Portret van Georges d'Amboise, aartsbisschop van Rouen," a print from between 1682 and 1730 by Jacobus Harrewijn, currently held in the Rijksmuseum. It’s a rather somber image. What compositional elements stand out to you in this work? Curator: The strength of this print lies in its manipulation of line. Note the density of the hatching to build form, particularly evident in the rendering of the cardinal's face and clothing. This controlled deployment of the engraver's tool creates tonal variation and models the figure. What is your initial reaction to that particular technique? Editor: I notice that the lines are incredibly fine, giving the image a delicate feel despite the subject’s serious demeanor. Do you think the artist was making a statement through this level of detail? Curator: The artist uses line to direct the viewer’s eye. Observe the directionality of the lines within the oval frame: they lead inward, focusing our attention on the Archbishop's profile. The lines create textures suggesting silk and velvet that imply that the figure’s position and wealth add a sense of hierarchy within the piece, don’t you agree? Editor: Definitely, it emphasizes his importance through skillful depiction, rather than symbolic elements. It’s fascinating how purely formal choices can convey so much about the subject. Curator: Precisely. Harrewijn manipulates the tools of the engraving trade, using controlled marks, weight of line, to make the two dimensional become three dimensional. The artist emphasizes this point through subtle angles and precise use of lines. I found this interesting as well!