Portret van Filips, graaf van Hohenlohe 1612 - 1624

Curator: Standing before us, we have a work by Simon van de Passe, titled "Portret van Filips, graaf van Hohenlohe." The engraving dates sometime between 1612 and 1624. Editor: There's an almost severe directness in his gaze. The starkness of the engraving really brings out the texture of his ruffled collar, and the armor... everything contributes to this weighty impression. Curator: Absolutely. Hohenlohe, you see, was a significant military figure in the Dutch Revolt. Van de Passe produced this portrait to be disseminated widely, reinforcing Hohenlohe's image as a leader in this critical moment in Dutch history. Consider that engravings allowed for broader distribution, thereby shaping public perception of these leaders. Editor: So it's not just a likeness, it’s also propaganda. Thinking about it technically, the lines used to depict the armor give a real sense of its metallic nature, reflecting light, contrasting nicely against the denser areas of shading that define his face and clothing. Curator: Indeed. The formal aspects work hand in hand with the intention. Notice how he's framed within the circular border, the Latin text functioning as both description and proclamation of his status. This contributes to the aggrandizement of Hohenlohe in the collective consciousness. Editor: I agree. All the little compositional details work together seamlessly. But, despite it's symbolic weight, what still catches my attention are the textures captured by van de Passe...that striking collar! And the somewhat melancholic mood he conveys in this very rigid, controlled form. It seems the formal properties serve the propaganda goals seamlessly here. Curator: Precisely. It's a fascinating confluence of art, politics, and personal history, isn't it? Van de Passe gives us insight into not just the man, but also how that era wished to remember him. Editor: Yes, it’s remarkable how much you can analyze about past socio-cultural patterns through these art pieces.