Portret van Pierre Jeannin 1696 - 1700

Editor: Here we have a piece called “Portret van Pierre Jeannin,” created sometime between 1696 and 1700. It’s by Jacques Lubin, and it's an engraving, so a print. What strikes me is how formal and imposing it feels. There’s a real weight to the image. What do you see when you look at this work? Art Historian: What I find interesting is the context around portraiture like this. Engravings like this "Portret van Pierre Jeannin" weren’t just art objects. They served a vital social function. They circulated images of powerful figures, establishing and reinforcing hierarchies. Consider, who was Pierre Jeannin and why was his image being so meticulously crafted and disseminated? Editor: Based on the name below, "Le President," I would guess he was someone important within the French government? I see the coat-of-arms, that seems pretty official. Art Historian: Precisely. These images acted as a form of visual propaganda, reinforcing social order and projecting power. Think about where these prints might have been displayed – in government offices, private homes of the elite? And how that placement reinforces a certain political narrative. The Baroque style, with its emphasis on grandeur, only adds to that effect. How do you think the choice of engraving as a medium contributes to this purpose? Editor: Well, being a print, it makes it easier to reproduce and distribute widely. So, it's not just about showcasing wealth, but also broadcasting an image for political reasons. So the function isn't really about the art or expression of Lubin, but more to spread this particular portrait for some specific purpose, which can be quite interesting. Art Historian: Exactly. And by understanding that function, we can unpack the layers of power and influence embedded within this seemingly simple portrait. Now you have given me more to consider. Thank you.