Portret van Rooms-Duits keizerin Maria Theresia 1727 - 1761

Editor: So, this engraving by Pieter Tanjé is called *Portret van Rooms-Duits keizerin Maria Theresia,* dating roughly from 1727 to 1761. It’s very regal, very Baroque… almost a visual assertion of power, wouldn't you say? How would you interpret this portrait in light of its historical context? Curator: Well, seeing it now at the Rijksmuseum, its status as a cultural artifact is certainly amplified. But it's important to remember that engravings like this weren't just about celebrating power. They were about disseminating it. Think of this as almost early modern propaganda, carefully constructed imagery distributed to project a very specific image of Maria Theresa across her domains. It reinforces dynastic power through controlled visibility. Notice how the framing and symbols operate almost like an official stamp. What does that suggest to you about its public function? Editor: That makes a lot of sense! It’s not just a picture; it’s a political tool. So, the very act of creating and distributing it reinforces her authority… Like visual branding, centuries before branding existed! Do you think people understood it that way at the time? Curator: Absolutely. Though they might not have used the language of "branding," people were savvy about images and power. The symbolism wouldn't have been lost on them – the crown, the elaborate dress, even the placement of her name and titles below. Think of the literacy rates at the time; an image becomes universally readable in a way text wasn't. Consider also that the patronage system was so important during that period and how artwork functioned almost as status and marketing tool, influencing how we interpret it even now. Editor: I never thought about it like that before. It really shifts my perspective. Thanks! Curator: My pleasure! It’s all about looking at how art works within, and often actively shapes, the socio-political landscape.