Curatorial notes
Curator: Alright, let's dive into this rather regal-looking fellow. Editor: So, this is "Portret van Prins Willem III" created around 1690 by John (I) Faber. It's an engraving. My first thought is that there's a sort of quiet formality here, despite all the ornate detail of his lace and armour. What draws your eye when you look at it? Curator: You know, what strikes me is how this Baroque portrait attempts to capture not just a likeness, but also an aura of power. Faber has chosen a circular format, placing William within this contained, almost medallion-like space. It focuses your attention. See how the inscription encircles him? It’s all about surrounding him with layers of significance. Do you find that effective, or perhaps a bit... much? Editor: It's definitely a statement! The circular frame almost feels like a coin, emphasizing his importance, yet, strangely, softens the portrait. I notice how delicately Faber uses line, almost sketch-like for such an official portrait. Is that common for engravings of this period? Curator: It’s fascinating, isn’t it? Usually Baroque portraits of monarchs aim for bombast, to be imposing. But Faber… there’s an intimacy, wouldn’t you say? He doesn't overwhelm you with the regalia; instead, he allows a glimpse of humanity to shine through. The lightness of the engraving actually adds to this softer feeling. Imagine if it were a bolder, darker print! It's as if he wants us to see the man, maybe even question what that type of authority really means. Editor: I get that feeling, I think I walked into this expecting the "powerful royal" vibe to knock me over the head, but the piece really draws me in by emphasizing something more subtle. It’s challenged what I expected. Curator: Exactly! And isn’t it wonderful when art does that – turns our assumptions inside out and shows us a new facet? Editor: Absolutely! This engraving definitely made me rethink how portraits were used in this period and it has given me a completely new way to view that era of portraiture.