Jacobus II (1633-1701), de latere koning van Engeland, op jeugdige leeftijd 1645 - 1655

Editor: This exquisite miniature portrait, made with oil paint, features the young Jacobus II, future King of England, sometime between 1645 and 1655, by Louis du Guernier. The scale makes it feel really intimate, but there’s something also a little detached about his gaze. What do you see in this piece? Curator: Beyond its surface-level charm and royal subject, this portrait speaks volumes about the construction of power and identity. Consider the Baroque style, the era's obsession with opulence, and how portraiture was used to legitimize ruling elites. How might this image of a young Jacobus contribute to establishing his future claim to the throne? Editor: I suppose portraying him as serene and composed reinforces the idea of a natural leader? Almost predestined? Curator: Exactly. And who benefits from this representation? What role does the artist play in upholding that power structure, especially in a time rife with social upheaval and religious conflict? Miniatures were often exchanged amongst elites, but were they truly ever seen by common people? Editor: I never really thought about the distribution. Or who was even able to view art like this. Curator: His youthful depiction also warrants attention. How might the emphasis on his youth be strategically used to evoke feelings of hope for the future and perpetuate dynastic rule? This artwork reflects not just an individual, but also how power perpetuates itself. It speaks to the very idea of hereditary privilege, and that’s a critical lens to consider when studying it. Editor: I see what you mean, understanding art in relation to historical and political elements really brings everything together. I now realize it's so much more than "just a portrait". Curator: Precisely. By interrogating these visual representations, we unearth how these systems sought to naturalize inequality. Hopefully more will reflect on it and consider the implications and what needs to change today.