Maskerade van de Utrechtse studenten, 1846 (plaat 2) 1847

Editor: This is Carel Christiaan Antony Last's "Maskerade van de Utrechtse studenten, 1846 (plaat 2)," created around 1847 using pen and ink on paper, currently at the Rijksmuseum. It strikes me as a pretty formal depiction of what seems like a parade or historical reenactment. What’s your take on it? Curator: I see a fascinating piece of historical documentation, perhaps even a commentary on the construction of Dutch national identity. Considering the date, it's vital to see this drawing within the context of the 19th-century rise of nationalism across Europe. Such parades were common events intended to invoke historical solidarity. Editor: So, you think this is more about solidifying identity than documenting reality? Curator: Exactly. Think about who is commissioning and consuming this image. Likely, it's intended for a specific audience interested in legitimizing particular historical narratives, possibly connected to the House of Orange, considering the flag. Notice how academic the style is. Who do you think was the target audience? Editor: Probably middle-to-upper class citizens who would understand the symbolism, and perhaps even participated in the masked parade. It looks staged for people with money and education. Curator: Precisely. And how might the staging, this “maskerade,” influence its historical reliability? The choice to depict student life like this in a fine art style speaks to what values, do you think? Editor: It kind of elevates the student's parade, to look and feel very formal and aristocratic instead of more common or rebellious student behaviours. I learned it's less about the parade and more about nationalistic imagery. Thanks! Curator: Indeed, the visual representation subtly reinforces a particular version of history and its public role in nation-building, it makes you question how that impacts its artistic significance, right?