Portrait of an Admiral, probably Willem van Ewijck c. 1680

Curator: Standing before us is a portrait believed to be of Admiral Willem van Ewijck, dating back to around 1680. It's an oil painting, in the Baroque style, but what do you make of it at first glance? Editor: It feels like a stage set! Grand, imposing, but also strangely… theatrical. The light catches the armour just so, and he has such a slight, almost amused expression. Curator: Absolutely, the craftsmanship here tells a story about labour and societal expectations, from the extraction of pigments to the forging of the armor and the hierarchies reinforced by portraiture itself. The materials declare status. What does the very presence of that armor, likely extremely expensive at the time, signal about the Admiral's position and the context in which this painting was made? Editor: Oh, it screams power and wealth, doesn’t it? Though it does make me wonder, how heavy was that armour really? Did he have to wear it often? Perhaps the painting idealizes him and suggests invulnerability, when in reality, battle—like the actual making of this art—is tough and exhausting. I bet posing for this portrait was grueling! All those layers of meaning, layered like the paint itself. Curator: Exactly, look at the canvas itself—the primary material—and the oil paint. Its production involved extensive trade routes, exploitation, and access to specialized knowledge. The level of detail speaks to a very deliberate process, but also to access and privilege in this era of Dutch maritime power. The inclusion of what appears to be a servant is further telling; what might we interpret about that detail and the portrayal? Editor: Ugh, that complicates things, doesn't it? The figure feels both ornamental and minimized; adding to a very problematic composition, but also perhaps intended to reflect global reach and power. And his somewhat weary gaze; it adds to a picture that feels somewhat conflicted in its own construction. Curator: So we circle back to where materials speak volumes, but can never truly capture the multifaceted dynamics and underlying realities of its era. The labor involved, from producing the painting, to serving such figures were far from equivalent. Editor: Absolutely, you’ve reframed my looking at the portrait. What seems heroic and staged now hints at darker undertones, layers upon layers.