Portret van Hendrik Noteman 1690 - 1724

Curator: At first glance, there's a somber, almost unsettling stillness to this portrait. The figure seems caught mid-thought, his gaze averted. Editor: Indeed. The piece you’re observing is identified as a portrait of Hendrik Noteman, crafted sometime between 1690 and 1724, currently residing in the Rijksmuseum. The work is attributed to Jacob Gole. Curator: An engraving then; a medium perfectly suited to capturing that introspective mood. But there is a dynamic suggested in the second subject on the right... Do you think there’s commentary embedded about the privilege granted to the sitter, the idea of whose life is being documented at all? Editor: It’s a loaded proposition when viewing a portrait from this era. Looking at the social history, this print, reproduced after a painting, could disseminate an image and elevate social standing. And, if the man on the right is a servant of enslaved subject, the status of the man is enforced. But that same printing press enables political cartoons, playing an unexpected role. It’s quite a juxtaposition, the engraving enabling propaganda, fame, slander all at the same time. Curator: The fact that we see it reproduced—distributed—opens up a host of questions about agency and control, doesn't it? The way it negotiates identity, visibility... It's so charged with historical implications. Was Hendrik Noteman in charge of his own story? Or did those holding the etching needle determine his identity? Editor: These are essential questions. This wasn't merely documentation. The Baroque style lends itself to staging and grandeur. I am quite curious about how and why this engraving landed in our contemporary setting, the history of how art is categorized. Curator: Indeed, the work holds so many threads to pull at. Editor: It makes one consider who the museums include—and exclude, in their telling.