Portret van Nicolas Caussin 1651

Editor: Here we have Michel Lasne’s 1651 engraving, a portrait of Nicolas Caussin, currently housed in the Rijksmuseum. There’s a sort of reserved intensity to this image, a sense of profound thoughtfulness in Caussin's gaze. How do you interpret this work, especially given its historical context? Curator: You know, it strikes me as less reserved and more… wistful. Consider the time. The mid-17th century. Caussin, a Jesuit, caught in the religious and political storms brewing across Europe. The very act of creating this print – imagine the artist, Lasne, meticulously carving into that plate, each line a prayer, perhaps, a testament to a man's intellectual battle. Does the oval framing remind you of anything? Almost like a reliquary, boxing in Caussin's presence and intellectual capacity within this specific era. What thoughts come to mind when you view that way? Editor: That makes me think about how portraits were essentially the "social media" of their time, disseminating images and ideas about prominent figures. The reliquary analogy adds a whole other layer to it, memorializing not just the man, but what he stood for. I'm curious about the seemingly sparse details of his clothes. Is it an effort to present Nicolas Caussin more as a religious idea and less as a regal person? Curator: Exactly! Think of the conscious choice *not* to adorn him in extravagant vestments. Lasne guides our attention solely to Caussin's face, that window to the soul—as they say—highlighting his intellect and spiritual commitment over earthly power. It's Baroque restraint, you see, strategically deployed for maximum impact. What about the way he uses shadow? Does it make the subject more ethereal, almost spectral? Editor: It's incredible how much can be conveyed through a simple print! I didn't think much of the dark robes earlier but that darkness, when placed against the stark whiteness of the oval background, does give Caussin a near spectral aura. Thank you for that interpretation! Curator: My pleasure. Sometimes, looking closely reveals not just the art, but a little of ourselves too. It almost always comes down to what the light reveals and what the shadows conceal...