Portret van Jean de Poligny 1597

Curator: Looking at this small print from 1597, an engraving now housed at the Rijksmuseum, we see a portrait identified as Jean de Poligny. Editor: My immediate sense is somber, a feeling emphasized by the meticulous detail and the monochromatic tones. The oval frame gives the subject a formal, almost claustrophobic feel. Curator: Absolutely, and let's contextualize that formality. Portraiture in the late 16th century served very specific purposes—affirmation of status, lineage, and political alignment. Poligny, whoever he was, commissioned this or it was made on his behalf to broadcast a particular image of himself. Editor: Precisely, the clothing, the beard, the very gaze are all carefully constructed to project authority. I'm drawn to the way the artist uses fine lines to render the texture of the face and clothing, highlighting a specific kind of masculine ideal of the time. It begs the question, what societal expectations were at play that dictated such rigid portrayals? Curator: It’s crucial to note the technical aspect too; engravings, being a more accessible medium than painting for instance, allowed for wider circulation of these ideals. So, beyond the immediate sitter, Poligny in this instance, the print actively participates in disseminating social norms and power structures to a larger public. Editor: It does make one consider who had access to such images and who was excluded from representation altogether. Were there women, or members of marginalized groups who might also have sought to assert their identity in this way? Curator: A valid point! Thinking about the Rijksmuseum's acquisition of this print, it represents an interesting example of art's continued public role today; what stories do we chose to tell through institutional selection processes? Editor: And whose narratives remain underrepresented or ignored? Food for thought about the ever evolving politics of art. Curator: Indeed. Examining this piece gives an opportunity to look at the socio-political meaning making within art's sphere. Editor: And to consider ways these old narratives may be reconstructed and challenged, so this piece also reflects our current place in history.