Portret van Johann Rudolf Rahn (I) 1628 - 1689

Editor: This is "Portret van Johann Rudolf Rahn (I)," a Baroque-style engraving made between 1628 and 1689 by Conrad Meyer. It's held at the Rijksmuseum. I find the formal, almost imposing, presentation of this man really striking. What's your take on it? Curator: This portrait presents an interesting intersection of civic identity and the construction of individual fame. Engravings like this served a vital function. Considering that this engraving of Johann Rudolf Rahn labels him as “Father of the Fatherland,” elected in 1608, it clearly plays a role in shaping his legacy, doesn't it? Editor: Definitely. It seems intended to project a certain image of authority and importance. How were prints such as this perceived and used at the time? Curator: These prints had real political weight. They could circulate widely, shaping public perception and solidifying power through carefully constructed imagery. Meyer’s artistry here contributed directly to how Rahn, and the values he represented, were perceived and remembered, so the public role of art is very tangible in the Baroque. Do you think that such works are only tributes? Editor: No, I think you're right. They're also tools, ways of cementing political and social standing. It highlights the active role art plays in shaping how we understand history and power structures. Curator: Precisely! By looking beyond the aesthetic, we start to see the political currents rippling beneath the surface of art history. Editor: I hadn't thought of it so much in terms of actively constructing someone's image and legacy for a public audience, instead of just reflecting reality. I will consider art’s public role more closely from now on. Curator: Indeed. Looking through that lens, history opens itself to more meanings.