Portret van Francisco de Moncada, markies van Aytona 1628 - 1670

Curator: Take a look at this print by Pieter de Jode II. It's a portrait of Francisco de Moncada, Marquis of Aytona, dating back to somewhere between 1628 and 1670. What's your first thought? Editor: It's…intense. That armour looks incredibly heavy and restrictive, and his expression suggests he finds the whole thing a bit of a drag. You can almost feel the weight of responsibility – or perhaps just the weight of all that metal! Curator: Absolutely, that Baroque flair comes through! Jode clearly paid attention to detail on Moncada's armour and the subtle shadows. Imagine the labour to make this metal printing plate, the meticulous etching with incredibly sharp instruments. Each line cut deliberately to create contrast and tone. Editor: I’m drawn to the question of audience here. This wasn’t some mass-produced thing; it’s metal, painstakingly worked and intended for relatively limited circulation, right? How did this shape its cultural impact compared to, say, something printed on paper? And it begs the question: What was Moncada's relationship to its making? Was he even aware of how his representation circulated? Curator: It gets me thinking about portraiture back then versus portraiture now, you know? Now, you take a selfie and you have control. He's kind of frozen here. Though the slight smirk betrays the power I believe he truly possessed. Editor: Indeed. Plus, think about the economics of representation here. The means to produce such portraits wasn't universally accessible, marking them clearly for consumption within specific societal echelons. It certainly highlights the means through which certain images and ideas can circulate. Curator: Exactly. I can only hope those sharp details did justice to his presence in the world. All things must pass. I wonder how history would view both me and Moncada from the ether, together commenting on art… Editor: Yes, there's real historical weight here, but to me it emphasizes how access shapes understanding and collective cultural identity through consumption as a practice. So, what kind of future can be etched?