Portret van Lodewijk XIV, koning van Frankrijk 1670 - 1724

Curator: Here we have an engraving of Louis XIV, King of France, by Jacob Gole. It's housed here at the Rijksmuseum, and although the engraving may have been executed anytime between 1670 and 1724, it encapsulates the grandeur of the Baroque era. Editor: Wow, it's amazing how much presence this image has despite just being an engraving. It evokes a sense of power... or maybe forced control. The ornate armor feels almost like a gilded cage. Curator: That's an interesting take. The armor does serve to underscore Louis XIV's authority, but let's also consider the socio-political implications. As a monarch, his image was carefully constructed, using symbols of power to legitimize his rule and project a sense of divine right. Editor: Absolutely, you can see it right down to the over-the-top hair! Almost cartoonish, the excess is what really gets you, right? I bet Louis was so tired with those big hair days... though of course no sympathy for monarchs here, in principle. Curator: It is striking, indeed, how that silhouette has become synonymous with absolute monarchy. We could look into fashion and gender theory to explore this further: hair, make-up, costume... were powerful symbols of not just wealth but also masculine authority in the court of the Roi Soleil. Editor: But tell me, as a print, does it kind of democratize Louis' image? Like anyone with a little bit of dosh could get their hands on a piece of him... which I guess would give power to the little guy and at least make him part of Louis' story too. Curator: It's a great question. While prints made images more accessible, their primary function wasn't necessarily democratization but rather dissemination of royal propaganda. Distribution channels remained controlled. Editor: Aha! So a very, very clever guy then: controlling an image, sending that message. Thank you, Jacob Gole for still getting our minds doing jumping jacks with a great sense of style too! Curator: A fitting reflection on the king who thought, 'L'État, c'est moi', a message reverberating still today in our understanding of power and representation.