Portret van Johann Anton Kroll von Freyhen 1714 - 1779

Curator: Oh, this is interesting. I am looking at Martin Tyroff’s engraving, “Portret van Johann Anton Kroll von Freyhen,” made sometime between 1714 and 1779. What strikes you first? Editor: Well, the elaborate wig immediately dates it, doesn't it? The whole aesthetic feels like powdered artifice, which makes me wonder what's being concealed. There's such a stiff formality about him, it's almost a caricature of power. Curator: You're right, the wig is like a visual announcement. But look at the backdrop: it features his estate, almost like he’s saying, “Yes, I am all this.” Then you have the Latin inscription, presumably listing his achievements. It’s pure Baroque showmanship. Editor: That inscription is a power move, really. Inscribed in stone, elevating oneself to some form of immortality through written record, an act of controlling narrative and history itself. How much of his supposed 'achievements' are propaganda? Curator: It certainly presents a curated image. But, you know, there’s a vulnerable quality too. It feels less like dominance and more like a desperate plea for recognition. Editor: I don't know...I think his robe hides many secrets. Do you think this portrait served to secure political ties? Because there is an eerie stillness in his eyes, hinting that much remained hidden and power was often exerted at the expense of others. Curator: That's fair, you know. Looking at this engraving from today's point of view gives this context and prompts us to consider our perspective on representations of historical authority. The world depicted on this portrait must have seemed immutable. And of course, that image was challenged and changed. Editor: Exactly. And isn't it wonderful how a simple portrait can unveil those power dynamics across time? Curator: It is quite a thing. All these tiny little lines put together create the space for huge reflections!