Omlijsting voor Michel-Ange des Batailles 1724 - 1777

Editor: This engraving, "Omlijsting voor Michel-Ange des Batailles," created sometime between 1724 and 1777 by Etienne Fessard, presents an ornate lion-shaped frame rendered with meticulous lines. I’m struck by how the ferocity of the lion is almost playful. How does its design relate to the role of images and power structures of that era? Curator: This piece speaks volumes about the politics embedded within artistic patronage and the construction of reputation during the Baroque period. Fessard was essentially creating a vehicle, a piece of what we might today call 'image branding' for another artist's war scenes – Michelangelo! In whose interest was it to promote art representing violence and victory? Consider the rise of nation-states and powerful monarchs needing to solidify their power. Editor: So, the frame itself, not just what might go inside it, communicates something important? Curator: Precisely. The very act of framing, and the choice of a lion, which is historically a symbol of power and strength, elevates Michelangelo's war imagery. It participates in constructing a narrative, it's not merely a decorative element. It directs the viewer to interpret 'Michel-Ange des Batailles' as inherently grand and significant. The institution displaying this - the Rijksmuseum - now continues the life of these intertwined meanings. How do you think audiences in different historical contexts might respond? Editor: I see what you mean. Today, we might view such blatant image-making with some skepticism, but perhaps back then it was more readily accepted as a display of power and authority. It certainly prompts me to consider the socio-political intent behind these kinds of displays and why we continue to circulate certain historical artworks in today's institutions. Curator: Exactly. It encourages critical thinking about the public role of art and its intersection with historical forces, doesn't it?