Portrait of Adriaen Paets, Director of the Rotterdam Chamber of the Dutch East India Company, elected 1668 1695 - 1722

Editor: Here we have Pieter van der Werff’s portrait of Adriaen Paets, painted sometime between 1695 and 1722. It’s a rather imposing portrait. What strikes me most is the oval shape, how it frames Paets so directly. What visual language do you find at play in this image? Curator: I'm struck by the power of the oval frame, too. Consider how it concentrates our gaze – the subject is contained, presented almost as an icon. This wasn't simply about representing Adriaen Paets; the portrait had to *project* the enduring ideals that Paets embodied, from civic authority to commercial prosperity. Think about the symbolic weight of the wig itself. What message do you think it sends? Editor: Well, it suggests status and wealth, of course, and conformity to the fashion of the day. It’s quite theatrical, though, isn’t it? Curator: Exactly! It also speaks of an adherence to convention, broadcasting adherence to social and visual expectations, which would then shape interpretations and ensure enduring legacy and respect. Now, consider the subject's gaze. Where do you think Paets, the director of the Rotterdam Chamber of the Dutch East India Company, directs our attention? Editor: He’s looking right at us, though there isn't a lot of warmth in it. Maybe he's looking past us toward some more distant vision. Curator: Perhaps, yes! Paets, both man and representation, stares directly out – an assured continuity is suggested between his vision, actions, and how those who view him after his death remember that power. In truth, art in the era helped forge powerful myths that sustain cultural memory to this day. Editor: It’s fascinating how the symbolism of an image can speak so loudly across time. I’ll definitely remember this iconographic approach when viewing other portraits! Curator: I am pleased to have guided you!