Eerste eeuwfeest van de oprichting van de Verenigde Oostindische Compagnie 1702

Editor: Here we have the “Eerste eeuwfeest van de oprichting van de Verenigde Oostindische Compagnie,” created in 1702 by Reynier Arondeaux. It's a print made of metal, using engraving. It is an artwork of contrasts, and its solemn classical allegories remind us of Dutch Golden Age art and power. As an overview, what stands out to you as we consider the socio-political context of this piece? Curator: Well, immediately, the assertive iconography leaps out. We see allegorical figures of power and naval prowess. The image seems calculated to convey the VOC’s global reach, particularly by presenting a narrative around "progress." The Latin inscriptions "In Altera Secula Pergo" and "Favente Deo" invoke destiny and divine support, common themes for nation-building. But who, I wonder, benefits from this supposedly divinely ordained, ever-progressing narrative? Editor: It definitely feels like propaganda, right? Especially considering the engraving focuses more on classical power and its symbolism and less so on the reality of maritime exploration, trade, or, perhaps, exploitation? Curator: Exactly. Consider the location of this print. It wouldn't be on view to those whose lives were negatively impacted by the VOC, would it? Think about who saw and interacted with this image in 1702. Did it appear as a coin handled during everyday commerce, subtly reinforcing societal norms, or hung on a wall to awe shareholders? Those nuances dictate its meaning and influence. Editor: That perspective really reframes how I see the piece. It highlights how the art serves those who commissioned it and the power dynamics inherent in creating national imagery. Curator: Precisely. Analyzing images like this teaches us to question whose narratives are promoted and how public memory is actively shaped. Editor: That gives me a fresh framework to consider power relations at work.