Edward VI 1650

Editor: Here we have Wenceslaus Hollar's 1650 engraving, "Edward VI," currently housed at the Metropolitan Museum of Art. There's an interesting formality and rigidness to this piece despite the subject being so young. What social dynamics are at play here? Curator: Well, look closely. Even in its seemingly straightforward depiction of a young monarch, the engraving speaks volumes about power, lineage, and the construction of identity. We must remember that the 17th-century gaze, even when looking back at Tudor England, was very interested in questions of sovereignty, divine right, and the social order. Editor: So, the piece functions beyond a mere portrait? Curator: Absolutely. Consider how Hollar situates Edward. The inscription elevates him – "heir of virtue" and seemingly "greater" than earth itself. This isn't simply about representing physical likeness; it's about reinforcing the Tudor dynasty's claim to legitimacy and the young king's divinely ordained authority, particularly during the instability that defined that period. What's interesting is understanding why it would be reproduced in the 17th century, a very different time from Edward's own. Editor: So, it is interesting to see it as both a depiction, but also, in a way, propaganda about power? Curator: Precisely. Even the medium, engraving, suggests something about dissemination of knowledge and influence. Hollar's choice isn’t arbitrary; it reflects an attempt to engage a broader public. And, think about it. What stories are intentionally *not* being told here about the context and consequences of this concentrated power? How do we challenge that silencing in our own time? Editor: I didn't consider that it was designed to teach a specific interpretation of history and kingship to people beyond the court. I will definitely look closer at similar works moving forward. Curator: That is how art allows us to bridge time and challenge assumptions, isn't it?