Nederlaag van Lodewijk XIV in de zeeslag bij Kaap La Hogue 1692

Editor: Here we have a bronze medal from 1692 depicting the “Defeat of Louis XIV in the naval battle of La Hogue,” currently held at the Rijksmuseum. It seems quite dense with detail for such a small object. What stands out to you about this piece? Curator: Immediately, the bilateral symmetry arrests my attention. We have two distinct, yet related, compositional fields: one, a portrait in profile, the other a complex, active seascape. Consider the contrast of the cool, smooth, formal portrait juxtaposed with the chaotic, dynamic, and deeply engraved naval battle. Note how each side balances the other within the circular boundary. Do you see this dynamic? Editor: I do! The portrait is static and almost cold, while the other side really vibrates with energy. But the portrait seems more three-dimensional with finer detail. How was such detail achieved in this medium and scale? Curator: The detail emerges through careful tooling and the varying depths of the relief. Notice how the artist manipulated the metal to catch the light and create form, paying attention to the textures of the hair against the smoother surfaces of the face. Now, look at the back. The complexity of the battle scene depends on a completely different kind of technique, where lines and shapes must communicate a scene rather than simply represent it. Editor: That’s fascinating. It's amazing how such different approaches exist on the same small object. I would think it a great challenge to balance the techniques on each side. Curator: Precisely. The success of this medal rests in its harmonious balancing of form and concept, inviting closer inspection and sustained viewing. Editor: I hadn't thought of it that way. Seeing your analysis, focusing on the techniques involved and the balance achieved through the juxtaposition of such distinct scenes, gave me a new understanding of this medal. Thanks!