Portret van Georg Ludwig von Braunschweig-Lüneburg, later koning George I van Groot-Brittannië 1698 - 1714

Editor: So, here we have a portrait of Georg Ludwig von Braunschweig-Lüneburg, later King George I, engraved sometime between 1698 and 1714 by Johann Martin Bernigeroth. It has that intricate line work that defines the medium. What's striking to me is how it transforms a political figure into a crafted object. What stands out to you about this piece? Curator: What grabs my attention is the labor embedded in the piece. Engraving at that time was a laborious process. This wasn't just about portraying royalty; it was a production. Think of the engraver's tools, the materials involved – the copperplate, the inks, the paper. This image wasn't merely disseminated, it was manufactured, reproduced for consumption. To what extent did this mode of production solidify or challenge Georg Ludwig's power? Editor: That's fascinating! It reframes my understanding of the portrait. Instead of just seeing it as representation, it's the output of industry. I wonder about the market for these engravings back then. Who was buying them and what did it mean to own such an object? Curator: Exactly! Who was afforded the ability to consume the King's image? Each print represents labor and material that, through this engraving process, are transformed into capital that can further the status of both King and engraver. Also consider how the materials used in art contribute to how we interpret the portrayed figure. Editor: It shifts the focus away from simply admiring the artistic skill to thinking about the means and the messages that are inherent in those materials. Thanks. I'll be looking at art in a new light going forward! Curator: A pleasure. Considering the artwork's raw materiality gives us an alternative look into both our and their time.