Inhuldiging van Willem V, zoon van de overleden Willem IV 1751

Curator: Today, we're observing "Inhuldiging van Willem V, zoon van de overleden Willem IV," a metal relief created by Johan George Holtzhey in 1751. Editor: It's quite formal, almost austere. All that silvery grey gives it such a cold and heavy presence. Like a fancy paperweight with serious historical weight. Curator: Absolutely. Holtzhey encapsulates the essence of both Baroque and emerging Classical styles here. We have that incredibly detailed relief, capturing the portraits of Willem V at different stages. Editor: It’s strange seeing him as a child. He looks like a little cherub trying to rule a kingdom! What’s with the words etched around the portraits? Curator: These are Latin and Dutch inscriptions praising Willem. On the obverse we see a baby William and inscribed "WILH.V.D.G.PR.AR.&NASS. BATAVORVM AMOR", on the reverse we see the elder William and the following phrase"HERISODOFABR NASS, TOT HELGLIB.GVB.HÆRED. D.I.G.HOLTZHEY FEC" This was common for commemorative medals; it amplified their significance and aided in their wide circulation as a powerful statement. Editor: Right, the circular frame almost creates a window, placing him in the spotlight. It’s as much a piece of propaganda as it is portraiture, really. Curator: Yes! The metal adds a sense of permanence. Holtzhey captures the shifting political winds of the time using Baroque drama to express a Classic idealism. It’s art engineered to make an impression! Editor: The attention to detail in his garments, even at that minuscule scale is impressive and, dare I say, overwhelming. This piece definitely commands attention. What does it say about the transition in styles? Curator: I think that Holtzhey manages to meld the best qualities of each, bridging grand theatrics with quiet dignity. The piece truly leaves you with much to ponder in a small space!