Pierre de Ronsard 

Editor: So here we have "Pierre de Ronsard" by Michel Lasne, likely created around 1585. It’s an engraving, a print. The starkness of the lines is what really strikes me. It seems very… precise. What’s your perspective on this work? Curator: It's fascinating to consider this engraving in the context of printmaking as a *process*, and as a material reality, beyond simply "portraiture". Consider the labor involved: the cutting of the metal plate, the inking, the pressing, and the dissemination of this image to a potentially wide audience. Doesn't the *reproducibility* inherent in the medium complicate the very idea of "aura" that surrounds portraiture, especially of notable figures like Ronsard? Editor: I see what you mean! It's not just a likeness; it's an object produced through a series of steps, meant for circulation. Does that democratize art? Curator: Potentially. Engravings made art accessible in a new way, breaking down the patronage system where only the wealthy could commission unique paintings. Here, Ronsard's image becomes a commodity, available for purchase and display. How does the textual inscription at the bottom, "Prince des Poètes Francois, mort l'An 1585," shape your understanding of this image in relationship to broader economy of texts and books during this era? Editor: It really hammers home the purpose, like a celebrity endorsement in a magazine. It almost turns him into a brand. I didn't think about the materials and labor before; now, it’s all I can see! Curator: Exactly! The image, the poet, the engraving—all commodities circulated within a complex economic and social fabric. Reflect on that fabric the next time you engage with an engraving.