Portret van Ferdinand van Oostenrijk 1630 - 1677

Editor: Here we have "Portret van Ferdinand van Oostenrijk," an engraving dating from somewhere between 1630 and 1677 by Adriaen Lommelin. He's decked out in armor. What strikes me is the formality; it's so...posed. What do you see in it? Curator: Indeed. It’s an interesting snapshot into a very specific moment in the Cardinal-Infante Ferdinand of Austria's life. I see someone very conscious of projecting an image, literally. It almost feels performative, doesn’t it? The armor is more symbolic than functional, and the drape behind him... theatrical! It makes me wonder, who was the intended audience for this engraving? Editor: Well, prints were often about wider distribution, right? Spreading an image for propaganda, or even just celebrity. So, perhaps the point was less about capturing the real Ferdinand and more about building the Ferdinand brand? Curator: Precisely! And Lommelin has taken inspiration from van Dyck; if we look at the inscription on the lower left we see "Ant. van Dyck pinxit" This print then solidifies his image, which begs the question of what qualities they aimed to immortalize, beyond just rank and military prowess. What do you think they’re saying about him? Editor: Hmmm, I hadn't thought of that. Now I am noticing his serene facial expression, perhaps hinting at diplomacy or piety beyond mere strength. It is an interesting portrayal, it adds layers. Curator: It does! Each element—the lace collar, the banner—contributes to the construction of a carefully curated identity. Seeing it as more than just a portrait, as an exercise in brand-building really does make it pop. Editor: Absolutely. Thanks for showing me there's so much more than meets the eye. Now, seeing through the constructed image, that makes history all the more intriguing.