Portret van Frederik, prins van Oranje-Nassau 1790 - 1849

Editor: So, here we have an engraving, "Portret van Frederik, prins van Oranje-Nassau," dating from sometime between 1790 and 1849, by Franz (I) Michelis. It feels very formal, very much of its time, and also feels quite small and intimate compared to large history paintings. What stands out to you about it? Curator: What interests me is the print's circulation and function. This isn't just a portrait; it's a piece of political communication. Think about it: images of rulers, especially heirs to thrones, were carefully managed and disseminated. What message do you think a print like this conveys, compared to, say, an oil painting that would be seen by a very select few? Editor: Well, an engraving would be more accessible, reproducible. It’s not just about memorializing the prince, it’s about making him visible and known. But to whom and why? Curator: Exactly! These prints helped solidify public perception of the prince. He is shown in military garb with royal markings and decoration in Neoclassical style, emphasizing order, duty, and, above all, legitimate power, for a broader audience. Consider the political climate; what internal and external forces could be threatening a reign that required to assert one's authority? Who benefits from these visuals? Editor: So, it's about power and projecting an image. It also demonstrates the increasing important role images played in projecting soft-power and cultivating patriotism for a popular figure like the Prince. I never thought of portraits quite that way before. Curator: Right, by this time, the printing press meant an artwork like this could project an ideology further than ever before. It changes your appreciation of the artwork once we realise that the piece operates in service to the subject, doesn't it? Editor: Definitely, thinking about its historical and political use opens it up completely. I am going to start thinking differently about how power and communication intersects with portraiture!