Twee portretbustes 1636 - 1647

Editor: Here we have "Twee portretbustes," or Two Portrait Busts, an engraving created sometime between 1636 and 1647. I'm struck by the old engraving style and how well the faces carry emotions. What do you see in this piece, considering the figures and their connection to historical visuals? Curator: What grabs me immediately is how these busts tap into the deep well of classical imagery. Look at the drapery, the stylized hair and beards – these are deliberate nods to ancient Greece and Rome. We are meant to recall the gravitas and wisdom associated with those cultures. Editor: So, they're not just portraits, but symbols of something more? Curator: Precisely. They are intended to connect the sitters with that rich history. But note also the small emblems beneath each bust. Those heraldic symbols – what stories might they be trying to convey? Think of coats-of-arms; they represent heritage, lineage and affiliation. They want to attach themselves to virtues of those cultures by visually connecting with iconic symbols of classical art and a heritage that connects their patron to values rooted in wisdom and historical narrative. The very act of commissioning such a piece asserts a specific identity. Does that resonate with you at all? Editor: I do now that you mention it, I didn't even think to look for that level of visual information. It’s a lot more loaded than a simple portrait, then. Curator: Absolutely. These aren't just images of people; they're crafted icons, deliberately constructing a persona through the language of historical and heraldic symbolism. And who chose these specific visual tropes, I wonder, the patron, the engraver, or maybe both? Editor: That makes you think about portraiture completely differently. I’ll certainly look closer next time. Curator: Indeed, every line and emblem potentially holds meaning. A potent reminder of how much our self-perception is a product of our collective memories and cultural symbols.