Portret van Maximiliaan Emanuel II 1670 - 1713

Editor: This is a print from somewhere between 1670 and 1713 titled *Portret van Maximiliaan Emanuel II,* made by Pieter Schenk. The heavy cloak and armour make him seem intimidating. How might we understand this portrait through the lens of power and representation? Curator: That's a fantastic starting point. This portrait exists within a very specific historical and political context: the Baroque era, characterized by displays of power and wealth. The armour, the elaborate wig – these are not just fashion statements. They are deliberate symbols of status and military strength, projecting an image of unyielding authority. Consider the inscriptions around the portrait, too; how do they contribute to this carefully constructed image? Editor: They seem to emphasize his virtue and titles. "Marcet Virtus Sine Hoste"—virtue prevails without an enemy. It’s like a carefully crafted piece of propaganda. But, were these representations always accepted uncritically? Curator: Absolutely not. The engraver Pieter Schenk chose specific symbols, poses, and textual components to underscore Emanuel’s divinely ordained authority. Examining this imagery with an understanding of how marginalisation occurs, we might look for points of contestation within the portrait itself, revealing a counter-narrative or the unease of the sitter behind all the trappings of power. Who benefits from the proliferation of such images, and who is silenced in the process? How do you feel this relates to today's forms of representations and power dynamics? Editor: It’s fascinating how much this portrait reveals when you consider the sociopolitical dimensions of the period and its connections to the current debates about power. Thanks, it’s been enlightening to look beyond the surface. Curator: And for me too. These conversations remind us that even seemingly straightforward historical images are laden with complex and often contradictory narratives about power and representation.