Portret van Karel Emanuel I 1640 - 1670

Editor: So, this is "Portret van Karel Emanuel I," an engraving created sometime between 1640 and 1670 by Petrus Rucholle. It's quite striking! I am immediately drawn to the detail in the armor. What can you tell me about this portrait in terms of its historical context? Curator: Well, given the context, engravings like this one played a key role in disseminating images of power. Consider who this man, Charles Emmanuel I, Duke of Savoy, *was*. Portraits like this weren't just about likeness; they were carefully constructed to project an image of authority and legitimacy, circulating his image throughout society. This connects directly to state power and influence. How does this purpose inform the visual choices made by the artist, would you say? Editor: I see your point. He’s not just *depicted* in armor; he’s presenting himself as a strong leader, quite deliberately. The inclusion of the family crest probably reinforced that further, yes? Curator: Exactly! This print is part of the Baroque period. It wasn't enough for a ruler to *be* powerful; he had to be seen as powerful. And the burgeoning print market helped enforce specific social structures, promoting ideals of nobility to a growing public readership, reinforcing hierarchies in the social imagination. The political message is clear. Editor: That's fascinating, it is much more than just image-making; it's social engineering. I'll definitely look at other portraits of nobility with these considerations in mind now! Thanks! Curator: Precisely. And thinking about these prints as vehicles of propaganda offers insights into the museum's role itself - consider its own position as a display of social capital, reinforcing those established views of artistic expression. I'm glad that you're adopting new viewpoints!