Jens Pedersen Skjelderup 1666 - 1667

Editor: So, this is Albert Haelwegh’s portrait of Jens Pedersen Skjelderup, made between 1666 and 1667. It's an engraving. It's quite detailed for a print, isn't it? What really strikes me is how the material seems to influence the way status is presented in this portrait. What do you make of it? Curator: This engraving offers a fascinating look into 17th-century society. It is not just about the likeness of Skjelderup, but also the material reality of its creation and dissemination. Consider the labour involved: the engraver, the printer, and the network needed to circulate the image. How do those factors contribute to the perception of Skjelderup’s power? Editor: That's a great point. It feels like this wasn’t necessarily about making “art,” at least not how we might define it today. It was more about crafting and circulating a message or a brand almost? Curator: Exactly! Engravings like this served a vital function in early modern Europe. This wasn’t just decoration. What kind of a consumer base would need, or be able to afford prints? And further, to commission one like this? Editor: Oh, wealthy merchants, maybe academics...anyone who needed to broadcast their image, really. It’s amazing how this particular medium connects directly to the social and economic realities of the time. Curator: Precisely! Considering the cost of production and distribution, owning such an image signalled a certain level of social standing. Seeing the artwork as a cultural artifact enriches the understanding of its purpose and value within society. Editor: I hadn’t thought about it that way before, framing it in terms of production and labor, but that context really deepens my understanding of the artwork. Curator: Indeed! Recognizing the material realities behind artistic creation helps to demystify the artwork, bringing art history closer to social history.