Aankomst van Filips II in Brussel voor de troonsafstand van zijn vader, Karel V, 1555 1780 - 1795

Editor: This is Jacobus Buys's "Arrival of Philip II in Brussels for the Abdication of his Father, Charles V, 1555," a drawing in ink on paper, made sometime between 1780 and 1795. There's almost a staged quality to the scene, everyone seems to be looking, and caught up in the event. What stands out to you about this piece? Curator: I am immediately struck by the power dynamics inherent in the depiction of this historical event. It presents a pivotal moment of transition but it's not just a transfer of power, but a construction of power. Consider how Buys, looking back centuries later, is deliberately crafting a narrative. Editor: How so? Curator: Look at the way Philip is framed; not as someone inheriting power organically, but as performing it. His clothes, the positioning within a staged city scape… they are communicating a carefully orchestrated dominance. Doesn’t this representation, created so much later during a period of political and social upheaval, seem to reflect anxieties about inherited power and the illusion of legitimacy? Editor: That's interesting, I hadn't considered it that way. I was really just looking at the aesthetic. So you're saying it isn’t simply a historical record, but an active argument? Curator: Precisely. Think about who Buys was painting for. Was he commenting on the contemporary struggles for self-determination? Who is complicit and benefits in continuing the subjugation of marginalized people, and what tools do they utilize to achieve this? The grandeur on display masks a system potentially built on exploitation and injustice. And then think about whose story isn’t being told in this supposedly triumphant arrival. Editor: That gives me a lot to think about when considering history paintings going forward. It's really all about deconstructing the power narrative, right? Curator: Exactly. Question whose voices are amplified and, crucially, whose are silenced. We can gain insights from the margins that the established voices wish to erase.