Zelfportret in ovaal 1695

Curator: This is Arnold Boonen's "Self-Portrait in Oval," an engraving dating back to 1695. It's currently housed here at the Rijksmuseum. Editor: Oh, wow, my first impression is that he's incredibly serious. Very focused, intense gaze. A bit unsettling, almost! And the curls are… abundant. Curator: Well, Baroque portraits often aimed for a certain gravitas. Look at the precise, almost scientific rendering of the face. And yes, the elaborate wig! That wasn’t just a fashion statement; it was a signifier of status, intellect and belonging in a society governed by certain standards. The meticulous cross-hatching gives real depth. Editor: Depth and, dare I say, a touch of theatricality? The way he's clutching that drape, it feels a little performative. It does look staged with precision; is it supposed to mean something? Curator: I'm so glad you noticed. He's staging himself in relation to the painterly tradition that has influenced the entire Western Canon since the Renaissance, I think. Editor: He really put a lot of focus on his garments; I almost missed how soft and careful he was around his hands, his ring... Why do you think it's a self-portrait, other than just the obvious naming convention? Curator: The way his eyes meet ours feels very direct, very knowing. Boonen’s self-portrait embodies not just a physical likeness but a carefully curated image. You feel the painter is trying to show not only that he looks a certain way, but also to represent his interior world as best as possible. What a fascinating contrast, to feel it's so deeply constructed to a degree. Editor: True! Now, thinking about what's left to my perspective, what an act of boldness—or perhaps vanity—to capture your likeness so vividly for posterity. Regardless, it really provides us insight into the life and persona of someone over three centuries removed from us. Thank you for enlightening me about all these underlying considerations, they completely flipped how I look at it now!