Portret van Bernhard Khevenhüller, heer van Aichelberg 1669

Editor: We're looking at "Portret van Bernhard Khevenhüller, heer van Aichelberg," created in 1669 by Johann Friedrich Leonard. It's a print, made using metal engraving. I'm struck by how intensely he's gazing out. What do you see in this piece? Curator: This engraving! It’s a little time capsule, isn't it? It's like Herr Khevenhüller stepped right out of the Baroque and into our present. Leonard really captures the man's... theatricality. The armour, the flowing hair, the almost comically large bow at his neck – it’s all stage dressing for power, wouldn’t you say? I wonder, though, what Leonard thought of him? Does he mock him? Editor: I see what you mean about the theatricality! The bow tie *is* pretty amazing. And the text below - all those titles! But is it mocking, or celebrating? How can you tell? Curator: Well, consider the way he's rendered: crisp detail in the face versus those almost flimsy looking draped sleeves... is it homage or critique? It's a delicate balance. The historical context here is key, you know, the Baroque was all about drama and asserting dominance. But did Leonard intend this portrait to convey admiration, or something else entirely? And look there in the upper left - do you think the addition of his Coat of Arms could be some subtle sign of flattery? Perhaps he was poking fun by going too far? Editor: So, it's all about this tension between admiration and critique, playing with the conventions of the time... I guess it depends on your interpretation! Thanks, I feel like I'm seeing so much more now. Curator: Absolutely, isn't it splendid? It reminds us that even the most seemingly straightforward portrait can be a complicated dance.