Portret van Johannes Schade van Westrum 1665 - 1686

Curator: What immediately strikes me is the intensity of this image. There’s such concentrated focus in his eyes. Editor: Indeed. We’re looking at an engraving, an intaglio print actually, entitled "Portret van Johannes Schade van Westrum." The print was made between 1665 and 1686 and features the likeness of Johannes Schade van Westrum. Curator: That crucifix is quite imposing, looming behind him like that. Given your interest in social history, do such images tell us much about the man's faith and the culture of that time? Editor: Absolutely. This image serves to locate Johannes Schade van Westrum not just as an individual but as a figure within the very particular socio-religious structures of his era. Note the books, and the clerical garments. Curator: Right, his vestments point to a role in the church and theology as do the books. But I wonder about the positioning of the book he’s actively reading versus the stack. There is a visual emphasis on the revealed and the yet-to-be-revealed. Editor: A fine observation! In its way, this portrait actively shapes public perception. Portraits of prominent citizens such as this would have served a very distinct purpose in shaping their reputation. They would be hung for people to see, thus serving to make him a moral and intellectual example. Curator: The weight of tradition—you really get that sense here. Even his clothing, such thick, heavy fabric. The burdens of learning, the weight of the cloth. Editor: The artist, Jonas Suyderhoef, understood the visual cues of power and status in Baroque portraiture very well. Curator: Thank you. Seeing this print has renewed my appreciation for how portraits both reveal and carefully curate a certain message for posterity. Editor: Agreed, it is an intriguing example of how artistic practices shaped public perception in early modern Europe.