Portret van Barthold Hinrich Brockes 1759 - 1815

Editor: So, this is Heinrich Pfenninger's "Portret van Barthold Hinrich Brockes," a print made sometime between 1759 and 1815. It's got a certain formality, almost like a passport photo for a powdered wig. What do you make of it? Curator: This portrait, like many of its time, isn’t simply about likeness. It's about power, status, and the carefully constructed identities of the Enlightenment elite. Think about what Brockes’s representation, through Pfenninger's engraving, is meant to convey. The Baroque style—those flowing lines, the dramatic, yet controlled, composition—places Brockes firmly within a particular social order. How might we unpack this in terms of access and privilege? Editor: Privilege? Well, obviously, being wealthy enough to have your portrait engraved says something. And the wig is… conspicuous. Curator: Exactly. The wig, the clothes, even the pose – they are all markers of belonging to a certain class. But it goes deeper. Portraits like these helped solidify and perpetuate social hierarchies. The act of commissioning and circulating these images reinforced who held power, and often, who was excluded from it. Consider the social role of intellectuals such as Brockes: who had access to them? Whose voices were excluded from those circles? Editor: So it's not just a picture of a guy; it's a statement about the whole social structure. A celebration, or maybe even a perpetuation, of inequality. I guess I never really considered the active role portraits played in that way before. Curator: Precisely. And understanding that dynamic lets us analyze art history with an intersectional perspective, shedding light on the complex relationships between art, power, and identity throughout history. Editor: Wow. I'll definitely look at portraits differently from now on. It really gives you a deeper appreciation.