Overlijden van Willem Farel, hervormer in Frankrijk en te Geneve 1725

Editor: Here we have a bronze portrait medal titled "Overlijden van Willem Farel, hervormer in Frankrijk en te Geneve," created by Jean Dassier in 1725. The piece has an austere feel to it, a stern profile. How do you interpret this work? Curator: This medal opens up a fascinating dialogue between religious reformation, identity, and the power of representation. Dassier created this medal almost two centuries after Farel's death. I think it's interesting to consider the motivation to commemorate Farel so long after his active life. How was his image and legacy being deployed in the 18th century? Editor: That's an interesting point. So it's less about the man himself and more about what he represented at the time the medal was created? Curator: Exactly. Farel was a key figure in the Reformation, advocating for significant changes to religious doctrine and practice, impacting social structures and individual freedoms. Think about the context: 1725, well after the initial religious wars but in a period where religious and political identities were still deeply intertwined. This medal would have circulated amongst a particular segment of society; perhaps they sought to either embolden or control certain narratives around religious and social change. Editor: It's interesting to think about the political implications embedded in a seemingly simple portrait medal. I guess, remembering to ask *who* created *what, when*, and *why* will now be part of my analysis! Curator: Precisely. Art objects aren’t made in a vacuum, they are loaded with societal, political, and personal messages. Engaging with art this way, makes you more attentive to the power structures.