Herulen 1650

Editor: This is "Herulen," an engraving from 1650 by Cornelis Visscher, held here at the Rijksmuseum. He's this imposing, muscular figure with a bow, and his gaze feels…intense. What should we make of that? Curator: It’s crucial to remember that representation of masculinity in the Baroque period wasn’t simply about physical prowess. The Herulen, were viewed with the lens of the political and social discourse of the day. So, what exactly are we saying about power when we glorify this kind of… warrior-like figure? Who does it serve to propagate an ideal of masculinity tied to military strength? Editor: That’s a really interesting point. It's not just a portrait; it’s actively shaping an idea about leadership and national identity. But who were the Herulen in real terms? Were they really like this engraving? Curator: That's the crux of it, isn't it? Consider this image within the framework of other colonial and power dynamics of that era. Were Herulen peoples even consulted or aware of these portrayals? These are tools that not only illustrate but also perpetuate the unequal power balance of the ruling class at the time. This engraving reinforces an idealized—and likely inaccurate—representation. The “reality” for subjugated populations could be much different. Editor: So, beyond just admiring the artistry, we should really be questioning *why* this image was created and *who* it was intended to impress. I see your point. It does change how you see the image completely, and makes me feel very conflicted! Curator: Exactly! And that conflict is vital to engaging critically with art. It opens pathways to interrogate historical narratives that have been used to dominate certain populations even today. Editor: I hadn’t considered it in that way before; thinking about art as a site of these political struggles really brings a new depth to this. Curator: Absolutely. This conversation is just the beginning of interrogating art and the society which informs its creation.