Zelfportret van Pieter van den Berge 1683 - 1737

Curator: Right, let's discuss Pieter van den Berge's self-portrait. It's a dry-media drawing, crafted with colored pencils; its execution falls somewhere between 1683 and 1737. Editor: Ah, I see! My first thought? There's something haunting in his gaze—almost as if he is peering through time itself. It's softened by the gentle, pastel hues, like a faded dream. Curator: Indeed. Van den Berge positions himself within an oval frame, common to Baroque portraiture. The curve softens the inherent flatness, directing our view towards the meticulous rendering of his features. Observe how the textures shift; from the flowing wig to the delicate fabric, each exhibits careful strokes that emulate a specific tactile quality. Editor: I love how his wig fights with the frame of the portrait, they compete! It almost wants to break free from its confines. He probably was a wild one! Curator: Perhaps. Stylistically, we can observe Baroque tendencies in the subject's ostentatious wig and draping garments. However, Van den Berge simplifies it, steering clear of excess ornamentation. He is subtly suggesting, in my view, the emergence of Enlightenment values by subverting pure aristocratic portrayals. Editor: I get it! I read in that simplicity an honest confrontation! He's really asking us “Who am I? What do you think?”. And yes, there's that quiet but certain gaze which anchors you. So, no escaping allowed, mister! Curator: Yes, in Baroque aesthetics the external appearance often acts as an indication of status and personal attributes. However, you find it remarkable that even now we respond so readily to his gaze and attempt to decode a character out of his rendering. Editor: The man knows his power, clearly! But, in all honesty, what an arresting exploration of identity caught in dry media, at the Rijksmuseum. Curator: Precisely, a complex dialogue encapsulated in line and color.