Maximiliaan Emanuel, keurvorst van Beieren, landvoogd van de Spaanse Nederlanden 1693

Editor: This is "Maximiliaan Emanuel, keurvorst van Beieren, landvoogd van de Spaanse Nederlanden," a bronze relief created in 1693 by Philippe Roëttiers. I’m immediately struck by its almost ghostly quality; the relief is subtle, and the metal seems to absorb the light. What can you tell me about this work? Curator: It’s fascinating to consider this work not just as a portrait but as a carefully constructed piece of propaganda. Notice how the artist chose to depict Maximiliaan Emanuel – on one side in profile, adorned in the attire of the time, and on the other side commanding a horse. This imagery served a very specific purpose: to solidify his power and project a certain image of leadership during a turbulent period in European history. How do you think these choices speak to the complex relationship between art, power, and identity in the late 17th century? Editor: That makes me think about who this piece was *for*. It's small, a metal round. Who saw this image, and what effect did it have? Curator: Exactly. This piece might have functioned as a kind of portable monument, circulated amongst the elite, reinforcing their loyalty and the legitimacy of Maximiliaan Emanuel’s rule. It’s important to question the narratives of power presented and unpack the potential impact on a society grappling with social and political upheaval. Do you notice anything about the style? Editor: Yes, it’s clearly Baroque with all the flowing hair and drama, but something about the small scale seems to almost…domesticate it? To bring it into the home. Curator: Precisely! And how might this domestication contribute to the overall project of legitimizing power? Editor: Wow, I never would have thought of this piece as an example of Baroque activism. Now I understand how important historical context is. Curator: Yes, recognizing those complex connections is exactly how we reveal the deeper stories art tells.