Johan Georg III, keurvorst van Saksen 1683

Curator: This engraved metal relief sculpture from 1683 depicts Johan Georg III, Elector of Saxony. The artist is Christoph Fischer. Editor: Right away, I see authority rendered with an elegant touch, but the portrait still has this... cold distance. What stories do you think a piece like this whispers to us? Curator: It speaks to the use of portraiture as political propaganda. Coins and medals were crucial in spreading the ruler's image and legitimacy throughout his realm. Johann Georg needed to project strength to consolidate his power, especially considering the tense political landscape of the time. Editor: So, this isn’t really about the person, Johann Georg, is it? More about the *idea* of the Elector? The stiff collar practically screams "untouchable." But the Baroque style softens it, there's movement in his hair and drapery that suggest a vulnerability. Maybe it's just wishful thinking on my part, ha! Curator: You raise an important point. The Baroque period favored dynamic compositions to evoke emotion and grandeur. However, within that framework, artists were still bound by expectations. A ruler could never appear weak. Editor: It is a funny medium too. It's intimate due to its size, right? It's meant to be held in one’s palm. And yet it communicates power in a big way, because the leader can have his image travel and multiply itself so easily. But still. Can’t imagine they passed these around for fun... Curator: Coins such as these were circulated widely, and some would have been commissioned for exclusive distribution to prominent persons in the Elector’s court, for the very purposes you suggest. Remember that control over currency was often the very bedrock of sovereign power. Editor: Huh. Okay, point taken. The thing just makes me ponder about what power actually *looks* like. So, thank you, Johan Georg, Elector of Saxony. Even cold hard cash can have us asking new questions. Curator: Indeed. Analyzing artifacts like these medals allows us to better comprehend not only the individual but also the world and its institutions that produced these images.