Ludvig XIV 1663 - 1665

Editor: Here we have Albert Haelwegh’s portrait of Louis XIV, made between 1663 and 1665. It’s an etching and engraving, so it’s a print. There's something really striking about the formality and strength radiating from this image, even though it's not a painting. What’s your interpretation of this piece? Curator: For me, this piece *sings* of an era obsessed with power and divine right. Look at the armour – it's not just clothing, it's a statement. What do you notice about the placement of the inscription, those flowing Latin phrases bordering the image? To me, it feels almost like a royal seal of approval stamped across time. Editor: That’s a cool way of seeing it! I mainly see it as framing, but thinking about the historical weight and symbolism makes it so much more. Does that style classify as Baroque? I always get them mixed up. Curator: Absolutely, you're spot-on. This is Baroque grandeur at its best. It’s trying to impress you, aiming to intimidate! Beyond being a historical portrait, it’s a manufactured image intended to create an aura, a legend. What feelings does it evoke in you, knowing it's not just a face but a carefully constructed idea of kingship? Editor: It definitely changes the viewing experience! The pose and all the fancy armour make him look much more formidable now. I was viewing it more from an aesthetic point, but seeing how much of it boils down to creating an idea really blew my mind. Curator: Indeed. We go beyond surface aesthetics, unearthing how a portrait like this becomes a cultural artefact, packed with intentional meanings for both its time and ours.