Zelfportret 1861 - 1889

Curator: Here we have a striking self-portrait. It is William Unger’s "Zelfportret," created between 1861 and 1889. This piece, currently housed at the Rijksmuseum, is an etching. Editor: The density of the blacks creates such a somber mood. You almost feel the weight of Unger’s gaze through those dark, piercing eyes. It feels intense. Curator: Unger was a master of etching, a printmaking technique where lines are incised into a metal plate with acid. Look closely at the varied line work; he skillfully employs hatching and cross-hatching to build up tonal depth and volume. Note how he rendered his garments with such exquisite details. Editor: Considering its date, etching would have been the means to both democratize the reproduction of artworks but also the professionalization of certain reproductive artists, no? What's Unger's relationship to the Old Masters, here? Is this self-portrait of an artist participating in a culture of replication, and if so, how did it shape perceptions of authenticity and authorship? Curator: Precisely. Unger’s reputation rested largely on his skill in reproducing the works of Old Masters, making their art more accessible to a wider audience. It shows his understanding and appreciation of historical art. I wonder if you observe, for example, Rembrandt in his own self-presentation? Editor: I think I do! These self-portraits, regardless of author, functioned as demonstrations of skill, a self-aware marketing strategy, a negotiation between individual ego and larger institutional validation. Curator: It truly invites contemplation about an artist's legacy and the dialogue between generations. Editor: Yes, the etching beautifully captures a nuanced self-perception but is necessarily intertwined within larger circuits of artistic appreciation and distribution of artistry.