Portretten van Maria II Stuart en Willem III, prins van Oranje 1688 - 1749

Editor: So, this print, "Portraits of Mary II Stuart and William III, Prince of Orange," dates sometime between 1688 and 1749 and is on display here at the Rijksmuseum. The anonymous artist created it using engraving techniques. It strikes me as incredibly formal, almost stiff, but the details are fascinating. What stands out to you about it? Curator: The stiffness you observe is very typical of Baroque portraiture aiming to project power. What intrigues me is the division. It's not just two portraits side-by-side, but almost like two halves of a whole. Each figure, meticulously rendered, with symbols of their authority-- crowns, scepters and armory—seem separate yet bound together, just like their joint rule. Does that make you think of anything? Editor: It makes me think about their shared power. Each has their emblems of power, yet they both stand above the joint coat-of-arms! Curator: Precisely. There is so much loaded into these conventional presentations. Do you notice the backdrops? William has what seems to be battle armor; Mary a field of flowers and more refined garb. There is this deliberate counter-positioning happening here. Editor: So, are you suggesting that the print emphasizes not just their joint rule, but also specific qualities they brought to it, through the use of imagery? Curator: Exactly. This engraving offers a carefully constructed vision of a royal partnership—two distinct individuals forging a powerful whole. Though they seem rather lifeless. Editor: True. Looking closer, I also noticed the geometric quality of this print! It seems there is always so much to see when you just spend a little extra time. Curator: That’s why art is the best detective work there is!