Portret van Süleyman II, sultan van het Ottomaanse Rijk 1658 - 1677

Curator: Let's spend a few moments with this striking print: a portrait of Suleiman II, Sultan of the Ottoman Empire. It's the work of Wallerant Vaillant, created sometime between 1658 and 1677. Editor: Wow. I'm immediately struck by the gaze. He’s looking off to the side, almost as if he’s spotted something interesting in the distance, or perhaps avoiding eye contact completely? Makes me wonder what was capturing his attention, or perhaps who was demanding it? Curator: It's interesting you say that. European portraiture of this period often aimed to project power and authority. Representing a Sultan looking askance certainly challenges that tradition. The power dynamic immediately seems to shift, wouldn't you agree? Editor: Absolutely. And the textures! I love how the softness of the turban plays against the implied heft of that fur mantle. It’s as if the artist wanted to convey both opulence and approachability—not quite reconciling them. Maybe that's why that vase or urn there to the right seems tucked away. Curator: The textures are indeed skillfully rendered. Vaillant was celebrated for his mastery of the mezzotint technique, achieving incredibly rich tonal gradations in his prints, it gives a tactile quality which is very compelling. Consider that while portraits of European monarchs were commonplace, depicting an Ottoman Sultan was quite rare in that era, so there are implied politics here, for sure. Editor: Yes! This isn't just a portrait; it’s a statement. What do we know about the motivations of the artist in portraying a figure who would probably have been conceived of as "the other"? Curator: Vaillant was a highly successful portraitist operating within a specific European market. This print, like many others, likely circulated amongst a specific segment of European society that were curious about powerful rulers from distant lands, yet likely also deeply fearful of their empires. The market demand, however, would definitely influence the supply of these types of images. Editor: So it's about appealing to and solidifying particular political imaginations on both sides of the world, wouldn't you say? It almost feels that this Sultan is more unknowable because he is at once rendered so elegantly with such fine detail and seemingly out of touch at the same time, removed as he is from us through the glass of the print. A complicated piece, full of subtleties! Curator: It's a fascinating glimpse into a period of intense cultural exchange, isn't it? The politics of imagery indeed. Editor: It certainly is, and one that leaves you with more questions than answers. I find that’s a mark of truly intriguing art.