Portret van Rudolf August von Braunschweig-Wolfenbüttel 1649

Editor: This is "Portret van Rudolf August von Braunschweig-Wolfenbüttel," a print from 1649 by Conrad Buno, housed at the Rijksmuseum. It's an engraving, quite small, and feels very formal, even a little stiff. What can you tell me about it? Curator: This portrait, though seemingly conventional, opens a window onto the intricate relationship between power, representation, and identity in 17th-century Europe. Notice how the armor serves not just as protection, but also as a potent symbol of authority and lineage. It is deliberately fashioned. Now, consider the historical context. The artwork emerged in the aftermath of the Thirty Years' War, a period of profound social and political upheaval that was driven by dynastic as well as religious tensions. What role did portraiture like this play in reasserting power in a period of disruption? Editor: It was probably a tool to legitimize power by showing this man in charge. He wears armour. So, does the armour link him to ideas about gender and masculinity? Curator: Absolutely. This links the portrait to complex intersectional understandings of class, gender and war. This engraving isn’t just an image; it’s a carefully constructed statement designed to project power, ensure continuity, and influence perception. It’s about manufacturing an image, and projecting an image into the future. The printed matter is made to be replicated, in order to cement a leader’s image across regions. And we cannot discount its function in justifying political inequalities. Does this artwork do that, do you think? Editor: That’s fascinating. It gives me a completely different perspective, seeing how art isn't just about aesthetics, but also power dynamics. I’m now very curious about similar strategies in other prints of the period! Curator: Indeed! Keep digging; keep asking these questions, and the art will reveal many secrets!