Twee staande figuren, mogelijk krijgsmannen 18th century

Editor: This print, etched in the 18th century by an anonymous artist, is titled "Two Standing Figures, Possibly Warriors" and it's at the Rijksmuseum. The first thing that strikes me is the contrast between the detailed rendering of the figure on the left and the sketch-like quality of the one on the right. What do you see when you look at this piece? Curator: Well, immediately I am struck by the fashion choices. One could imagine the figures bursting out of a Shakespeare play, Hamlet perhaps. These characters are likely imagined costumes from history, fueled by theater and a yearning for grand narratives. Notice the mark making in the garment. Does that heavy cloak hide a grand secret? Is the quick sketch of the bare armed soldier the true person that is forced to cower to authority? Editor: That’s a really interesting idea. I hadn’t considered that the second figure could be representative of something hidden beneath the cloak of authority, so to speak. Curator: Absolutely! Now, look closer at the face of the more ornamented figure, that slightly haughty look and intense detail. Notice how different it is compared to the rough hewn one beside it. Editor: You’re right! There's a real distinction, even though the title suggests they're both "warriors." This difference in detail highlights a stark class disparity, even an air of mistrust, I think. Curator: Maybe they aren't warriors at all! And yet that suggestion is so prevalent due to their positioning, stature, and period details, what a conundrum! A delicious mystery, wouldn't you say? Editor: Definitely! It makes you think about how appearance and quick assumptions play a major role in perception. Curator: Precisely! This print isn't just about "warriors"; it is about how we perceive them, or anyone, for that matter. Editor: Thanks for pointing out how this work seems to engage with both the fashion of the time and some much larger questions! Curator: My pleasure. A second glance is often more fruitful.