Overlijden van Pasquier Quesnel, priester van het Oratoire te Parijs 1719

Editor: Here we have an object titled “Overlijden van Pasquier Quesnel, priester van het Oratoire te Parijs,” made in 1719. It looks to be some sort of commemorative medal, made of metal. There are two sides. One shows a profile of a man, and the other side contains text and a sort of open book. I find the piece rather somber. How do you interpret this work, given its context? Curator: This medal opens a window onto a critical period of religious and political conflict within France. Quesnel was a prominent Jansenist, whose theological stances placed him at odds with both the Jesuit order and the monarchy. Do you notice the emphasis on text, the inscription "Doctrinam Sapientia et Disciplina" alongside the book? This highlights Quesnel's intellectual contributions. Editor: I do see that now. But what about the image of the man himself? Does his depiction reveal anything about his identity or perhaps the message the artist wanted to convey? Curator: Absolutely. The sober portrait, coupled with the symbolic imagery, subtly challenges the dominant power structures of the time. Medals like this were often created and circulated to commemorate figures who represented alternative ideologies, subtly critiquing the establishment narrative. This was often the only way to challenge political discourse, through the use of symbolic imagery, because more blatant forms of opposition were dangerous. Does this make you view the piece differently? Editor: It does. The medal is no longer just a portrait, it’s a statement. Understanding the historical and political environment really opens up a new way of engaging with the piece and, in this case, makes you consider what it really stood for during a very tumultuous time. Thank you for your insights. Curator: Indeed. It prompts us to reflect on how artistic expression becomes intertwined with resistance and social commentary, even in seemingly conventional forms.