Portret van John Locke 1734

Editor: Here we have François Morellon La Cave's "Portret van John Locke," created in 1734. It feels very formal, very staged, almost like a memorial. What's your read on it? Curator: I see echoes of Roman portraiture, the oval frame itself suggestive of a classical cameo. The inscription acts as a kind of halo, associating Locke with wisdom, almost deifying him after his death. The coat-of-arms too, reinforces a desire to project nobility and permanence. What symbols jump out at you? Editor: I suppose the frame, the writing, that's all pretty common in portraits, but it's definitely dialed up here. Do you think the artist was making a statement? Curator: Consider the timing. Locke had died 30 years before this portrait was created. There’s a clear desire here to solidify Locke's image and, by extension, the ideas he championed – empiricism, individual rights – in the face of perhaps emerging counter-narratives or challenges to his legacy. This isn't just a portrait, it's an act of preservation, even canonization. Editor: So, almost a branding exercise for Locke’s philosophy? A way to make sure he, and his ideas, wouldn't be forgotten? Curator: Precisely! Images are powerful carriers of memory, wouldn't you agree? Editor: Absolutely. I never thought of a portrait as having so much... intention, beyond just capturing a likeness. Curator: Art constantly negotiates between representation and mythmaking, truth and aspiration. Perhaps our task is to unravel the symbols and intentions embedded within. Editor: I'll definitely look at portraits differently now!