Vrede van Nijmegen 1678

Editor: Here we have Jacob van Dishoecke’s "Peace of Nijmegen," crafted in 1678 from silver. It’s a Baroque relief presented as a coin or medallion. There are a number of figures and symbols...I find it very formal. What do you see in this piece, especially considering its historical context? Curator: This medallion encapsulates more than just the signing of a treaty; it speaks volumes about power dynamics, gendered allegories, and the construction of historical narratives. The female figures, allegories of peace, justice, and perhaps liberty, are positioned as central to the achievement of peace. Consider who is absent: where are the warring kings and generals? Who gets to claim responsibility for peace, and what does that say about 17th-century society? Editor: So you’re saying the imagery is less about historical accuracy and more about…promoting a particular viewpoint? Curator: Exactly. It invites us to critically examine whose stories are being told and whose are being erased or recast. The cityscapes and royal insignia on the reverse further emphasize the intended audience and the solidification of power through the ‘gift’ of peace. How does that reading affect your understanding of this object, as a symbol? Editor: It’s almost like propaganda, framing the rulers as benevolent peacemakers. The contrast between the idealized figures and the reality of war is really striking. I didn't think about the absence of those actually warring! Curator: It is in fact propaganda! Understanding art objects like these necessitates engaging with not just the aesthetic but the deeply entrenched socio-political narratives they propagate. It urges us to question these constructed realities. Editor: I see now how deeply intertwined art is with power and social commentary. It makes you consider everything with a more critical eye. Curator: Precisely. Every brushstroke, every cast, carries a message that history books sometimes overlook.