Portret van Jozef I 1690 - 1697

Editor: We're looking at a piece from the Rijksmuseum's collection: a rather detailed engraving called "Portret van Jozef I" by Leonhard Heckenauer, dating back to sometime between 1690 and 1697. I'm immediately struck by the formal tone, that oval frame feels very baroque. What do you see here, beyond the regal stiffness? Curator: Well, it does reek of status, doesn't it? But look closer. It’s not just a portrait, it's a carefully constructed piece of propaganda. This engraving, meant to be reproduced and circulated, projects power but with a vulnerability. Look at the youth of Joseph! Editor: Propaganda? He looks so young! Like a teenager playing dress-up. Curator: Exactly! Think about the political climate then, constant power struggles, challenges to legitimacy. An engraving like this had to establish his authority, hence the ermine and crown, while also presenting a figure the people could, perhaps, find endearing, someone worth supporting despite his age. Did they manage this, you think? Editor: Hmm, I'm not sure endearing is the word I'd use, but the detail in the engraving, especially the folds of fabric and the wisps of hair, it’s undeniably impressive. It must have taken an insane amount of skill! But would someone find this intimidating? Curator: Good question. I would consider how this engraving becomes just one tile in a mosaic of images used to construct and reinforce Joseph's image and idea of royal authority, from medals to tapestries. This helps understand how the role of the artist at the time acted less like a free-flowing agent of pure expression, and more like a highly trained and versatile cog within larger operations of courtly marketing and identity projection. Fascinating, isn't it? Editor: It totally is! I hadn’t considered how much these images were designed to sell an image. Curator: It really makes you think about portraits differently, doesn't it? We expect ‘authenticity’ but forget all the filters at play, now and then.