Portret van de schilder Adriaen van der Werff in een omlijsting op de schoot van een vrouw en ondersteund door een putto 1669 - 1737

Curator: This engraving, titled *Portret van de schilder Adriaen van der Werff in een omlijsting op de schoot van een vrouw en ondersteund door een putto*, made sometime between 1669 and 1737, and currently held at the Rijksmuseum, immediately strikes me as odd, like a fever dream I once had after too much cheese. Your initial thoughts? Editor: I notice a grand allegorical scene; a woman cradles a portrait of Adriaen van der Werff, which seems quite… ceremonial? The putto adds a playful touch, contrasting with the sitter's formal appearance and pose. How do you interpret the staging here? What do you see happening? Curator: Oh, the staging is everything! The woman represents Fame, I think, or perhaps Painting herself, eternally preserving Van der Werff's likeness. The cherubic putto? Well, every artist needs a cute sidekick, don't they? Though really, it signifies divine inspiration – or maybe just adds some much-needed cuteness to an otherwise self-important portrait. But let’s pause and really *look*. Does Van der Werff seem happy about this grand presentation? Editor: Not especially? He seems more… reserved. Perhaps a touch melancholic? Is he aware of the allegory, or simply posing? Curator: Exactly! That tension is precisely what makes it so compelling! He's both the subject and seemingly oblivious, trapped in amber. It hints at the performative nature of fame itself, the artifice inherent in portraying oneself for posterity. A fascinating commentary on ego, wouldn't you agree? I wonder what his favorite cheese was. Editor: Absolutely. It seems the artist may be subtly questioning the very nature of portraiture, and of artistic legacy. I hadn’t considered that initial impression. Curator: See? A little bit of cheese and a second glance always help. Now, what shall we look at next?