Verdrag van Fontainebleau tussen de Republiek der Verenigde Nederlanden en de koning van Frankrijk 1785

Curator: Here we have a silver commemorative medal created by Joseph Jansz. Everts in 1785. It’s titled "Verdrag van Fontainebleau tussen de Republiek der Verenigde Nederlanden en de koning van Frankrijk," commemorating the Treaty of Fontainebleau between the Dutch Republic and France. Editor: My first impression is of cool, crisp formality. The high relief gives it a certain gravitas, doesn’t it? You can feel the weight of history, the weight of the silver itself. Curator: Absolutely. Silver was often used for such commemorative pieces, reflecting a certain perceived value but also facilitating reproduction; consider the material as not merely valuable but utilitarian within a specific economic system. And its small scale invites an intimate viewing experience. Editor: Looking at it from a political lens, I'm struck by the allegorical figures. On one side, we see the Dutch Maiden and Gallia, representing the two nations, standing together, yet distinctly separate. What's interesting is how their postures, even their attire, contribute to the narrative of diplomacy and, perhaps, veiled power dynamics. Note how their shields point inwards, protecting each other. This points toward a moment of at least performed parity, if not of a radical alliance. Curator: Precisely. Everts uses Neoclassical aesthetics to promote and normalize the power structure between two key imperial states, framing the labor and material exchange under a veneer of shared virtue and prosperity. It's important to remember such celebratory objects were often commissioned by those in power, reinforcing their position. And let’s not forget the production – who mined the silver, who cast it, what were their socio-economic conditions? Editor: An essential consideration. By addressing the silversmiths and the mints, it underscores art-making as material action embedded within unequal relations. I keep returning to these allegorical female figures, as it's rare for states to be portrayed by a figure who is implicitly vulnerable, rather than heroic or imperialistic, Curator: So, it’s a powerful artifact encapsulating political narrative, artistic expression, and the physical realities of its creation. Considering Everts was working during the era when silver and metalworking were being impacted by increased global trade… Editor: Right, placing an artwork in the history of commerce and conflict helps deconstruct what stories get told. In this piece, it's about probing what power really looks like and how gender roles intersect.