Portret van Anthony Oetgens van Waveren 1749 - 1796

Editor: Here we have Jacob Houbraken’s "Portret van Anthony Oetgens van Waveren," dating somewhere between 1749 and 1796. It's an engraving, a type of print. There's something so stern yet delicate about this portrait. What do you make of it? Curator: Stern indeed! It's the mark of a man holding a mirror up to himself. I bet Anthony Oetgens van Waveren was a shrewd, meticulous guy to hold such civic office. Notice how the artist doesn’t flatter him? It’s almost daring, as if Houbraken wants us to really *see* this fellow—wrinkles and all—without the varnish of societal expectation. But does it strike you that there is tenderness, too, in the lines around his eyes, the suggestion of a mouth about to speak but holding its tongue? I love a face like that, what do you see when you look? Editor: That makes me think about what's not said in the picture. The subject really projects a composed public image. He gives almost nothing away. Curator: Precisely! Consider that this piece isn't just a portrayal but a presentation of self, deeply embedded in the traditions of Baroque portraiture. It's intriguing, don’t you think, how we build ourselves, choosing which fragments to reveal? And Jacob’s steady hand etching those details reminds us of the effort it takes to construct any identity. So, in a way, the piece becomes less about him and more about the grand charade we’re all involved in. Editor: That’s so true. It's much more meta than I initially thought! Seeing it that way makes me appreciate both the artistry and the deeper message. Curator: Isn't it delightful how a simple print can lead us to reflect on our own facades? Art, really, is just a clever mirror reflecting back our messy, magnificent selves.