Lodewijk XIV, koning van Frankrijk verlangt naar vrede 1693

Curator: Here we have a fascinating piece by the Monogrammist R, a metal print from 1693. The title translates to “Louis XIV, King of France longs for Peace.” Editor: Well, that’s a bold claim! Looking at this, I’m struck by the sheer formality of it all, even for a coin or medallion. The king’s profile practically screams, "I am the Sun King!" It's all rather self-aggrandizing, isn't it? Curator: Absolutely. This print, using metal as its medium, offers insights into the political climate and the production of royal imagery. The very act of producing countless coins with the king's likeness served to cement his power, but using these images to promote peace after years of conflict... the metal itself becomes propaganda. Editor: Propaganda cast in a rather dull silver. See, for all the talk of peace, the image on the reverse showing a bird on a nest feels bleak somehow. Not exactly exuding joy. Curator: Indeed. That scene offers an allegory, but I find it difficult to believe the intent behind that allegory. One could argue the seemingly modest scene could represent hope and stability after periods of unrest and territorial expansion. However, such royal symbolism usually serves as a form of legitimization of power through dissemination to the people. The distribution and reception become crucial for historical understanding. Editor: I see what you mean. It is all in how many of these the King ordered to be minted. Perhaps it was all just performative then? I like to imagine the artist rolling their eyes a little as they carved. Is this really about peace, or simply maintaining appearances? What I think I will remember is that sometimes what appears delicate—like a print on metal—can carry the weight of heavy, complicated histories. Curator: That resonates with my take, too. It highlights the intrinsic link between artistic expression, political context and the everyday lives and economic realities that influence art's creation.