Portret van Augustus II, koning van Polen 1694 - 1724

Editor: Here we have a striking print from somewhere between 1694 and 1724 by Jacob Gole. It's titled "Portret van Augustus II, koning van Polen," or Portrait of Augustus II, King of Poland. The detail achieved through engraving is quite impressive, but there’s also an austere formality that is somewhat intimidating. What captures your attention most in this depiction of power? Curator: Intimidating is a brilliant word for it. The sitter's pose feels less about lifelike representation and more about staging a certain kind of… theatrical authority. Notice the way the crown almost looms behind him, and the armor peeks out from beneath what appears to be very, very heavy drapery? There is a wonderful artificiality in play. I would go so far as to suggest the intention might have been to evoke both awe and maybe a hint of apprehension. What do you think that combination might mean? Editor: I see what you mean! Maybe to show that he is strong, but that his power isn’t something to be taken lightly? It’s almost… constructed. Curator: Exactly! That Baroque era really loved its grand gestures. What feels most performative to me is actually the oval frame itself. Do you see how it literally frames him? Editor: Yes, that's an interesting point! Like putting him on a stage, separating him from reality somehow. This makes me think about all the effort involved in crafting these projections of power. Curator: Indeed! We shouldn't assume this "distance" is cold, or sinister. Think about it more like… carefully managed charisma. It makes me wonder what Augustus II was like in real life! I imagine he understood image control perhaps even better than some of our social media mavens today. What a legacy to contemplate! Editor: This really opened my eyes to the performance of power inherent in portraiture, and makes me want to do more research on how the Baroque era informed visual propaganda.