Prins Willem III neemt voor zijn reis naar Engeland afscheid van zijn vrouw, 1688 1688

Editor: So, here we have Jacob Gole's "Prins Willem III neemt voor zijn reis naar Engeland afscheid van zijn vrouw, 1688," made in 1688. It's an engraving. I'm struck by the formality, but also a subtle tension between the figures. What do you see in this piece? Curator: This print offers a fascinating lens through which to examine gendered power dynamics in the late 17th century. Look at the composition: William is positioned almost as if on a stage, while his wife seems restrained by her own circle of women. Considering that he was about to embark on a journey that would lead to him becoming King of England, how do you interpret the contrast between the active male role and the passive female role? Editor: I see what you mean. The men look like they're getting ready to *do* something, while the women appear almost ornamental. Curator: Exactly. This wasn't merely a personal farewell; it was a pivotal moment in European history, inextricably linked to shifts in power. The print suggests that while William claimed his place on the global stage, Mary's power remained confined to the domestic sphere. We could also consider how prints like these were disseminated and consumed - what kind of narrative was being constructed for a public audience? Editor: That's really interesting. It makes you think about how images were used to reinforce social norms. I hadn’t thought of it that way. Curator: Right. This work also points out the performative aspect of gender and power in court societies and calls on us to analyze images with intersectional tools to deconstruct entrenched cultural narratives. Editor: I'll definitely look at baroque portraiture differently from now on! Thanks. Curator: Likewise! Considering its historical context reveals that an image of supposed domestic farewell is really deeply interwoven into politics of power.