Zelfportret van Moses ter Borch before 1661

Curator: Here we have the "Self-Portrait of Moses ter Borch," a drawing made before 1661 and now held at the Rijksmuseum. Editor: It’s surprisingly gentle. The soft charcoal, the muted tones… there’s a real intimacy to it. Almost melancholic, wouldn’t you say? Curator: It is striking how accessible this feels. Ter Borch's portrayal raises several questions around self-representation. As an artist working within the Dutch Golden Age, what cultural and social expectations was he navigating? The act of self-portrayal, then and now, invites layered readings concerning identity, status, and personal narrative. Editor: Precisely. Consider the gaze – averted, yet engaging. He's both present and withdrawn. The loose strokes of charcoal suggest a work in progress, revealing vulnerability and self-doubt. I wonder, too, about the relationship between artists and patrons at this time. To what extent did the market influence an artist's self-perception and, consequently, its portrayal? Curator: This is where we can contextualize ter Borch within a broader tradition of Dutch portraiture. How does this self-image reinforce or subvert social norms and artistic conventions related to self-fashioning and personal brand building within an emerging art market economy? We cannot separate artwork from market. Editor: A pertinent point, it makes one think about contemporary readings. Even now, artists manipulate their public personas, though today using digital avenues. Self-portraiture can also play into themes of privilege and access. In Ter Borch's time, these intimate works surely cemented social standings? Curator: That's insightful. Today, these historic works offer invaluable perspectives into the socio-political and artistic landscape of their eras, and by fostering dialogue around topics such as identity, visibility, and agency, we confront historical conventions that mirror those within current discourse. Editor: Yes. We're drawn to the familiar and repelled by the uncanny. And looking back, at Moses ter Borch looking at himself, or at least giving us a constructed gaze to observe, it really makes you wonder if anything at all has changed.