Henrik Rüse, vendt mod højre 1664 - 1671

Curator: This engraving by Albert Haelwegh, dating from around 1664 to 1671, presents us with a portrait of Henrik Rüse. Editor: The level of detail achieved in this print is striking. Rüse's gaze feels very direct and somewhat imposing. What can you tell me about the context of this work? Curator: The context is crucial. Consider the Dutch Golden Age, a period of immense wealth fueled by trade, alongside devastating wars, like the Dano-Swedish war where Henrik Rüse made his name. Portraits such as these become tools to assert power and position within society. How do you think an engraving achieves that? Editor: Well, creating multiple copies helps to spread the image widely. So, the portrait wasn’t just for him or his family, but more of a public display? Curator: Precisely. Printmaking made it possible to disseminate images of powerful figures, reinforcing their status and shaping public perception. Also notice the latin text. Can you imagine who was intended to read it? Editor: Definitely not everyone would be able to. This engraving appears within the collection of the National Gallery of Denmark today, so this tells me that Henrik Rüse was trying to make an impact on educated society members and also leave a legacy in time. The language choice confirms his elevated position within a highly educated society. It almost feels like propaganda, if that is not too strong a word! Curator: Not at all. Indeed, propaganda, promotion—think of it as image management for the elite of the 17th century. I learned that understanding the social function of this type of Baroque portrait is central. It's not simply about likeness; it's about constructing a carefully controlled image of power. Editor: And I will definitely pay closer attention to all the societal signals sent by official portraits from now on.