Johan Brockenhuus samt scene med evangelisten Matthæus. Til Ligprædiken 1650

Curator: This engraving from 1650 commemorates Johan Brockenhuus, and also presents a scene with the evangelist Matthew. I'm always drawn to the way portraits of this era seem to capture something of the sitter's inner life. Editor: I immediately get a feeling of formality, bordering on the austere, though the allegorical scene on the right adds an unexpected twist. The visual density of all those coats of arms definitely roots it in a very particular moment and set of power dynamics. Curator: The duality is compelling, isn't it? You've got the individual portrait juxtaposed with what appears to be a divine act, the writing of the Gospel of Matthew, set against a detailed cityscape. Editor: Yes, and I see that cityscape as representing earthly power and accomplishment in sharp contrast to the supposed divine intervention depicted. Notice how the portrait on the left feels intensely human, while Matthew seems almost staged, participating in a theatrical scene for a presumably wealthy, educated audience. It serves as a kind of memento mori for the deceased, who appears accompanied by his lineage. Curator: You've pinpointed something interesting. The print seems to invite contemplation on earthly legacy and spiritual significance. The craftsmanship is impressive as well, considering it’s an engraving. So much detail packed into such a relatively small format! Editor: And don’t overlook those densely packed heraldic shields along the margins. This wasn't just about commemorating an individual; it was about embedding him in a network of social relations, power, and privilege. Genealogy in baroque style. These kinds of images always invite critical thinking around what gets memorialized and why. Who gets remembered, and on what terms? Curator: It is a beautiful encapsulation of a specific moment and way of seeing the world, balancing personal history with something grander. Makes me wonder who saw it and how they felt. Editor: Absolutely. These works remind us that visual culture is never neutral. It actively shapes how we understand ourselves and the world around us, and, in this instance, who belongs and who doesn’t.