Portret van Nicolaas Nomius by Jacob Matham

1624 - 1628

Portret van Nicolaas Nomius

Jacob Matham's Profile Picture

Jacob Matham

1571 - 1631

Location

Rijksmuseum

Listen to curator's interpretation

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Curatorial notes

Curator: Let’s explore this print of Nicolaas Nomius by Jacob Matham, created sometime between 1624 and 1628. It's a stunning example of Dutch Golden Age portraiture in engraving. Editor: My first impression is one of solemnity. The composition feels very structured, almost geometric within that oval frame, creating a strong sense of order. Curator: It does exude a sense of authority, doesn't it? Nomius was a prominent theologian, and the portrait is rich with symbolism tied to his position. Consider the crucifix he holds—a clear declaration of faith. We have to see how these images construct power dynamics through symbolism. Editor: The use of light and shadow also enhances the dimensionality. The sharp contrasts emphasize the textures of his fur-lined robe, making it appear almost tactile. This elevates the tactile experience into visual metaphor. Curator: Indeed, and this work also has important connections with the patronage systems in the Netherlands. Figures such as Nomius commissioned pieces that acted not just as personal commemorations, but to buttress broader sociopolitical power structures in the era. The lettering around the figure and beneath further alludes to specific biographical details we would need to consider. Editor: Speaking of technique, the sheer detail achieved through engraving is remarkable. Look at the precision in rendering the facial features. How is it all that density doesn't come across as clutter or confusion, formally? Curator: It’s that mastery of line that really makes it sing—an order brought to light in complex textures. These engravings capture the sitter, while they broadcast societal expectations around class and erudition in Dutch society. It allows for a reading of faith, identity, and power intertwined. Editor: This exercise brought the sitter’s presence forward in a compelling way. And also brought our divergent backgrounds into dialogue about it. Curator: Exactly—by connecting Matham’s art with society, we’ve seen this piece, in a sense, come back to life.