Portret van de kanselier Elbertus Leoninus 1841 - 1879

Editor: This is "Portret van de kanselier Elbertus Leoninus," an engraving by Edouard Taurel, dating from 1841 to 1879. The subject, with his severe gaze and elaborate ruff, looks imposing. The inclusion of his coat-of-arms suggests a desire for commemoration. What stands out to you? Curator: It's interesting how Taurel, in the 19th century, revives this almost medieval, decidedly *historicizing* aesthetic. We have to ask ourselves, why? This portrait wasn’t created during Leoninus's life, so it is interesting that he is not pictured with, say, 19th century technologies of power like railroads. Instead he’s framed as a historical figure of great authority. What is this choice really communicating? Editor: Perhaps they wanted to connect to a glorious past? Project power through historical association? Curator: Exactly! Consider the rise of nation-states in the 19th century. Institutions like the Rijksmuseum played a crucial role in crafting a national identity. So, this portrait can be understood not just as an image of a man, but as an image *of power*. The artist is, I think, positioning Leoninus as a foundational figure, someone whose authority resonates across centuries, benefiting from the public's nostalgic views of this period. Editor: So, the work becomes almost propaganda for the emerging state. I never considered that museums could play such an active role! Curator: Precisely! By carefully selecting and presenting historical figures, museums shape our understanding of the past and, ultimately, our present. It shows how the act of remembering can serve very contemporary purposes. Editor: That’s a compelling view, thank you! I'll definitely look at these portraits differently now. Curator: My pleasure! Keep asking those probing questions about context.