Portret van Ambrogio Spinola, markies de los Balbases 1630 - 1646

Editor: So, here we have "Portrait of Ambrogio Spinola, Marquis of Los Balbases," dating from 1630 to 1646 by Lucas Vorsterman I, currently at the Rijksmuseum. It's a Baroque print, and what strikes me first is the sheer weight of detail. It feels very…formal, almost intimidating. What stands out to you in this piece? Curator: Intimidating, yes, precisely! Look at that collar; it’s like a fortress wall around his neck! The texture practically vibrates off the metal. It reminds me that portraits then weren't selfies; they were carefully constructed performances. This is Spinola, a general, so we're seeing the careful projection of power, etched into metal no less, forever declaring a place in history, no silly grins allowed! See how he holds the baton, but with this oddly relaxed grip, and not a trace of humour in his eye? He’s reminding us that war isn't some slapstick, carefree, romp. Does the work communicate anything to you, given this history? Editor: Definitely, the gravity comes through, though it's a bit static. Almost like he’s daring you to challenge him. Do you think the choice of print as a medium amplifies that message in any way? Curator: Oh, absolutely! Prints allowed for wider distribution, reinforcing his image throughout society. It's Baroque propaganda, if you will. Imagine these images travelling around Europe. Editor: That makes a lot of sense. I guess I hadn’t thought about the distribution aspect. Curator: Indeed. So, who's really holding the baton here, Vorsterman, Spinola or History? Editor: Wow, I hadn't considered it that way, thank you for your insight. Curator: My pleasure. A fruitful way of considering art I've always found, for sure!