Aanslag op Cremona door Eugenius Frans van Savoye en gevangenneming van Francois de Villeroy, maarschalk van Frankrijk 1702

Curator: Here we have a baroque medal from 1702 currently held in the Rijksmuseum, depicting the "Assault on Cremona by Eugene Francis of Savoy and the Capture of Francois de Villeroy, Marshal of France." Editor: My first thought is of how these miniature, highly detailed reliefs are documents and propaganda tools all at once, immortalizing power. It’s hard to immediately grasp the narrative because of the intricate composition. Curator: Precisely. Look at the density of the figures, the layered relief creating depth, all contained within this circular format. Semiotically, the circle itself represents wholeness, eternity reinforcing the permanence of the depicted event. On the obverse, we have Eugene of Savoy’s bust rendered in profile, framed by allegorical figures. The reverse showcases Britannia triumphing over the captured Villeroi amid battle. Note the idealized muscularity given the men involved—the symbolic use of classically informed bodies to present military success. Editor: And those allegorical figures serve as an ideological justification. Britannia’s placement asserts British dominance, overshadowing the realities of war with narratives of heroic intervention. How complicit is art in shaping perceptions of conflict? The "attack" becomes an opportunity for the artist to justify power relations. Do the materials contribute something, and what are the techniques? Curator: Metal allowed for detailed and reproducible imagery, perfect for disseminating propaganda and affirming victory through a more durable format. It employs high-relief sculpting techniques. The artists' skills transform base metal into a representation of idealized strength, manipulating reality into an allegory of moral superiority. Note the contrast of light and shadow which enhances its dramatic feel. Editor: This is precisely the paradox; this isn't a transparent document but an actively constructed version of it that aims for visual impact and relies on cultural associations of the era, and one must question whose truths were being cemented. These figures' actions legitimized violent state power with appeals to national virtue through aesthetics. I leave wondering who profits when wars become sculptural narratives of self-congratulation. Curator: Well, in a way it offers insight on the very structures of authority; a tangible artifact encapsulating history filtered through the very particular artistic lens of power.