Portret van Jeremias Nicolaus Eyring

This is a copper engraving of Jeremias Nicolaus Eyring, made by Christoph-Wilhelm Bock in 1792. Encapsulated within a simple, unadorned circle, the portrait evokes the ancient Roman tradition of portrait medallions. This circular framing, reminiscent of classical cameos, echoes the power of containment and focus. Think back to the Renaissance "tondo," where circular paintings often depicted scenes of domesticity or religious significance. Here, the circle corrals the individual, yet its wholeness suggests completeness and timelessness. But why this return to classical forms? It is more than mere aesthetics; it’s a psychological yearning for order and stability amid the swirling currents of modernity. In those times, the circle symbolized perfection and infinity. It is this subconscious desire for a harmonious world that finds expression in the art of this period. Even today, the circle persists, reminding us of our never-ending quest for meaning.