Portret van Maximiliaan I van Beieren 1600 - 1604

Curator: Welcome. We’re standing before a striking engraving, "Portret van Maximiliaan I van Beieren," crafted between 1600 and 1604 by Dominicus Custos. It's part of the Rijksmuseum's collection. Editor: Immediately, it hits me as powerful, formal. His eyes, even rendered in engraving, are intensely assessing, and all of that gorgeous armor almost pops off the paper at you. You can tell he meant business. Curator: Absolutely. Consider the context: Maximilian I was a pivotal figure, later the Duke of Bavaria. This portrait served as visual propaganda, legitimizing his authority. The elaborate armor isn't merely decorative; it symbolizes his military might. Editor: True. Though to be honest, I’m slightly distracted by that incredible lace ruff. Like a delicate doily designed to guard a king. There is almost something of a warrior, with his piercing gaze, softened by lace! Curator: And Custos was a master engraver. Notice the fine lines, the shading, that give real dimension to the face. This wasn’t just about recording a likeness, but crafting a carefully constructed image for dissemination. Engravings allowed for multiples, for wide distribution. Editor: Definitely makes you consider its function. Did it actually hang in peoples living rooms back in the day, or serve something other, darker, intent? Even down to those Latin inscriptions circling his portrait! Who understood it then, I wonder. Who *was* it for, and what did they take from it? Curator: These portraits were important for the aristocracy and elites, and for solidifying power, spreading images to foster the subject's personal brand.. What strikes me is Custos’ skill to show an element of real humanity in Maximiliaan’s gaze, amid the overt grandeur of it all. Editor: That gaze does get to you! You look away and see those eyes for an age afterwards.. Right, well I see this as a really nice demonstration of portraiture operating not only as record, but as instrument. Curator: Exactly, showcasing the potent intersections of art, power, and historical messaging. Editor: I suppose that’s Maximiliaan done with now then.. Onto the next gallery…