Portret van Maria van Hongarije te paard 1538 - 1548

Curator: Before us, we have "Portret van Maria van Hongarije te paard", a print created between 1538 and 1548 by Cornelis Anthonisz, housed right here at the Rijksmuseum. Editor: The stark contrasts of this engraving certainly command attention. The regal figure appears almost austere, and it seems to be a powerful study in contrasts: between light and dark, figure and ground. Curator: Precisely. Note the artist's technique. The geometric regularity, how Anthonisz masterfully used line to define form, paying careful attention to detail, especially evident in the Queen's clothing and the horse’s harness. The linearity of the hatching creates a captivating visual texture across the entire image. Editor: And considering it is a print, we should consider the labor involved, the engraving into a metal plate that enables the image to be endlessly reproduced, shared, and consumed beyond a painting or drawing. Think of the societal reach of this kind of production, it democratizes portraiture! Also, consider the paper itself, and the inking process that is adding another element of variability of material practice. Curator: Indeed, we are dealing with reproductive art; but it is how the formal components harmonize, like the geometric emblem and balanced composition. The visual language itself exudes Mannerist traits. Look at the elongation of forms and, despite its limitations in monochrome, it carries immense weight, symbolically and literally. Editor: To me, it evokes a certain idea of "weight"—and, in the physical sense, let's also not forget that ink and paper would have been precious commodities in the 16th century, carrying social connotations, and therefore were anything but neutral when used to reproduce likeness of members of the ruling families. Curator: Fair point, how social and material context shapes interpretation! So as you study this composition of Queen Mary on horseback, take in the delicate strokes and think of what Anthonisz. attempted to visualize, and how the materiality is inseparable from the end product. Editor: Absolutely, may this detailed work remind you of how materials, like ink, and their circulation are anything but separate from a queen's enduring legacy.