Groepsportret van Frederik Hendrik, Frederik V van Bohemen en Ernst Casimir, met hun vrouwen en kinderen, 1627 by Frans Brun

Groepsportret van Frederik Hendrik, Frederik V van Bohemen en Ernst Casimir, met hun vrouwen en kinderen, 1627 1627

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print, engraving

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portrait

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baroque

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print

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group-portraits

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history-painting

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engraving

Dimensions: height 485 mm, width 798 mm

Copyright: Rijks Museum: Open Domain

Editor: So this is a print from 1627 by Frans Brun, called "Groepsportret van Frederik Hendrik, Frederik V van Bohemen en Ernst Casimir, met hun vrouwen en kinderen". It’s a group portrait, unsurprisingly! What strikes me is how busy it is, crammed with figures. How do you even begin to unpack a composition like this? Curator: Ah, yes, "packed" is the perfect word! To me, it feels almost like a stage, doesn’t it? A very carefully constructed tableau. The architecture in the background hints at grandeur, but the abundance of detail pulls my eye in a million directions. I see families clustered almost into opposing camps on each side of the scene. Almost like two tennis teams posing for a picture. Notice how they’re placed, framed by classical columns on one side and a fantastical landscape on the other. Almost as if art is not enough, nature itself had to be styled with palaces and fountains and triumphant angels just to show who has more to be proud of. Makes you wonder about the intended audience and message, doesn't it? Who *are* these folks trying to impress? Editor: That’s fascinating – I hadn’t really considered the “stage” aspect of it. Do you think it was common for portraits at this time to have such a theatrical feel? Curator: Absolutely. It reflects the Baroque era's love of drama and spectacle, think Rubens. These weren’t just portraits; they were declarations. I suspect, looking at all those children, this image might have been a powerful piece of dynastic PR! A display of alliance as much as a depiction of family. It really draws you in doesn't it? What a powerful claim of influence! Editor: So much is being conveyed, both artistically and politically. I’ll definitely look at other Baroque portraits with this new perspective in mind. Curator: Exactly! It all starts to weave together if you approach it not only with the question "What does it look like?" but also "What did it need to be?"

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