Portret van Michael Ioannes von Altham 1646

Editor: Here we have Elias Widemann's 1646 engraving, "Portret van Michael Ioannes von Altham," held at the Rijksmuseum. There's a severity to it, almost like a document rather than a celebration. What strikes you when you look at it? Curator: Immediately, I'm drawn to the framing—both literal and figurative. We see Altham encircled by Latin phrases emphasizing his official roles: supervisor, prefect. It’s designed to impress. However, considering the engraving within the context of 17th-century European power dynamics, who was this intended to impress, and why was it so important to create and circulate this image? What anxieties about status or legacy might be at play here? Editor: That’s interesting. I hadn't thought about the intended audience and anxieties. It does seem less about celebrating the man and more about solidifying his position. Is that a common element of Baroque portraiture? Curator: Indeed. The Baroque period, while visually opulent, was deeply entwined with religious and political upheaval. Art was frequently employed as propaganda—as a means to visually reinforce established hierarchies during times of uncertainty. Look closely at the phrase "Homo Homini Devs." Does this assertion of almost divine status for a man, at a time of religious questioning, strike you as provocative? Editor: It definitely challenges conventional ideas about power. I am seeing this portrait with fresh eyes. Curator: Precisely. And by analyzing these layers, we can move beyond simply appreciating its aesthetic qualities to understand the social forces that shaped its creation and meaning. The question of portraiture shifts from simply 'who is he?' to 'who did they want him to be seen as, and why?' Editor: That makes so much sense. I'll definitely be looking at art with more critical awareness moving forward! Thanks. Curator: The pleasure is all mine. Keep questioning!