Filips van Montmorency, graaf van Horne en zijn vrouw Walburg van Nieuwenaar 1566

Editor: This striking double portrait from 1566, crafted by Jacques Jonghelinck, presents Filips van Montmorency and Walburg van Nieuwenaar on two separate metal medallions. The crisp detail of the engravings is really fascinating. What strikes me, though, is how austere they both look. What's your read on this piece? Curator: Well, it's crucial to remember that portraiture in the Renaissance and Mannerist periods was often less about capturing personal warmth and more about projecting social status and political power. Think about the historical context: the Dutch Revolt was brewing, and both Filips and Walburg were figures of considerable influence. This medallion could have functioned as a kind of political statement, projecting an image of noble dignity and resolute leadership in times of crisis. Notice how the inscriptions around the edges emphasize their titles. Editor: That's fascinating. So the medallions weren't necessarily intended to be flattering in a modern sense, but to broadcast their position? Curator: Precisely. Moreover, these medallions themselves functioned within a gift-giving economy. Disseminating their image through multiples underscored their power. Think about who might have received these: allies, potential supporters, perhaps even adversaries. These aren’t just portraits; they're tools of political messaging. Consider also that Jonghelinck was master of the mint – these are effectively like very exclusive coins! Does seeing them this way change how you perceive them? Editor: Definitely. Knowing the artist and understanding the socio-political atmosphere really shifts the meaning for me. It's not just a picture; it’s a carefully constructed message. Curator: Exactly. By looking at how art is embedded within social and political structures, we can uncover hidden dimensions and appreciate its original function. Editor: I learned a lot by looking beyond just aesthetic qualities. Thanks!