Portret van Johann Rudolf Werdmüller 1749

Curator: Let’s turn our attention to this engraving by David Herrliberger, dating back to 1749. It’s titled "Portret van Johann Rudolf Werdmüller," currently held in the Rijksmuseum. Editor: My initial feeling? Stern, intense. He's looking right through you, or perhaps past you into some strategic horizon only generals see. And so precise – the armor is wonderfully detailed, as is the text in the cartouche below. Curator: Exactly. What’s compelling here is the intersection of power, representation, and the technology of reproduction. This portrait exists because Werdmüller held significant military and political sway. Herrliberger's engraving serves as a way to disseminate that power and project an image of authority. The use of baroque style adds another layer, reinforcing this air of grandeur and importance through ornamental detail. Editor: Right, Baroque does seem to fit someone so armored up, all scrolls and flourish. But, tell me, do you ever wonder what these guys were *really* like, off-duty? Away from the portraits and pronouncements? Probably not quite as dramatic in real life, I bet. It's the same when one is faced with digital portraits today, one could only be presented with a face of perfect filteration, where in real life, it's quite impossible. Curator: Absolutely. The question is not only *who* is represented, but *how.* The inscription emphasizes his Senatorial position and military achievements. This engraving becomes an assertion of a certain type of masculinity linked directly to political power and the theater of the state. He's constructed here as a leader, ready to command. Editor: And constructed, *literally,* through the engraver’s hand. It makes me think about how identities are manufactured, and it also gets me curious how folks reacted to seeing images like this for the first time. It’s so interesting looking back at something produced during a time where such processes and portraiture were not easy. It is indeed such a big difference than when we compare to current times when producing one is as easy as breathing! Curator: The level of craftsmanship in this work underscores that very point. It wasn’t a snapshot; it was a calculated presentation of power. I am interested in how contemporary theory critiques how historical portraiture is weaponized in that period, through lenses of gender and class. Editor: Food for thought for sure. What began as an imposing portrait ends up, for me, posing questions about constructed identities and social power... I'll need to think about how portraits, as much today as in 1749, impact identity in various fields. Curator: Indeed. Thank you, David Herrliberger, for stirring those vital questions, across all ages.