The Family of William Cavendish, Marquess of Newcastle-upon-Tyne 1656

Curator: Isn't it curious? I feel as though I've stumbled into a staged drama more than a formal portrait. This print, crafted in 1656 by Peeter Clouwet, presents "The Family of William Cavendish, Marquess of Newcastle-upon-Tyne". What leaps out at you? Editor: Well, initially, it feels...stiff, despite the obvious attempt at relaxed poses. The arrangement is oddly theatrical, as though a play has been paused precisely for this moment. Curator: Absolutely. The formality almost feels satirical, wouldn’t you agree? It’s an engraving, which lends itself to sharp lines, heightening that sense of posed performance. It has a very Baroque theatrical quality about it, no? Editor: Precisely! See, it all points back to representation, the staging of power and dynasty, I guess? Even that open window...there’s such intentionality behind its inclusion. Is it simply a visual indicator of naturalism and atmospheric perspective, or something else? The figure near the open window, slightly set apart, might signal that this gathering will be exposed. Or maybe it hints at something seeking to escape? Curator: Intriguing! The print’s reliance on narrative is undeniable, what with the almost cinematically placed figures. Clouwet's approach—rendering a family scene with a theatrical flair and a baroque sensibility, invites us to reflect upon their lives, doesn't it? How did they really exist behind these meticulously crafted images? Editor: It feels like a story within a story. What appears to be a family portrait is, perhaps, an allegory or moralistic lesson on power, succession, and the transience of it all. I am more drawn to the framed verses in the foreground... a play of words! It serves as an explicit invitation to decipher the performance laid out for us in this Sergy-Circh—that one may unwittingly see sin or crime but should consider their time wisely! Curator: It truly adds a rich layer of understanding to the whole print. It’s as if, through careful arrangement, Clouwet has frozen not just a moment, but a whole discourse on family, duty, and presentation of self! Editor: In a world, then as now, constantly performing its identity. It gives me the feeling that "history," too, is a fabrication in some regard. Thank you for allowing me to perceive the iconology behind this family’s social tableau, as well as behind history itself! Curator: Oh, it was all you. The way we tell the story… Well, perhaps, that's the true art in this portrait!