Gottfried Becker og hans hustru Johanna Henricca Becker, f. Nörck 1868

Editor: This print, created in 1868 by A.P. Madsen, features Gottfried Becker and his wife Johanna Henricca Becker. It's rendered as a portrait with a linear style in engraving. What jumps out at me is the formality of the subjects and the incredible detail in the rendering of clothing and hair. How do you interpret this work? Curator: As a materialist, I'm drawn to the production of this engraving and what it reveals about the social and economic context of 19th-century Denmark. Consider the labour involved. Each line meticulously etched by a craftsman, presumably for mass reproduction. Editor: Mass reproduction of portraits? Why? Curator: Exactly! That question opens up many possibilities. This wasn't painting, accessible only to a patron, or even a sculpture demanding mastery of carving, modelling, or casting. As a print, its availability changes. Was this a commission meant to project social standing, or serve to record historical presence and disseminate the family's name and status across generations? Editor: So the act of creating this multiple relates directly to social class and the Beckers' place in society? The portrait celebrates this social standing and its proliferation as well. Curator: Precisely. Note the stylistic elements referencing earlier periods too - baroque hairstyles for instance. They point towards an association with luxury and status. Moreover, the labour-intensive nature of engraving signals wealth: the commissioners had resources for it. Editor: It's fascinating to consider the socio-economic context informing its making, not just its artistic qualities. Thanks. Curator: Absolutely, focusing on materiality allows to see how "high" art becomes imbricated with "low" labour and how they intertwine for image and status-making.