Portret van Willem III, prins van Oranje c. 1688 - 1725

Editor: This is a portrait drawing of William III, Prince of Orange, made with pencil around 1688 to 1725. It’s unsigned. I find it striking how soft and delicate it appears, almost dreamlike for a royal portrait. What captures your attention in this work? Curator: Ah, yes, William. He gazes out with such serene self-assurance, doesn’t he? More than a stiff ruler's portrait, I see a tender glimpse of a human soul, captured with the ephemeral beauty only graphite can lend. I can almost hear the whisper of the pencil on the page, a secretive conversation between artist and subject. Does the flowing wig draw your eye too, the artist's almost playful rendition of the social expectations around the subject? Editor: Absolutely, the wig practically has a life of its own. But what about the rest? It's… interesting how unfinished some areas seem, particularly towards the bottom. Is it just me, or does that lend a sense of immediacy? Curator: Immediacy indeed. It whispers to me that this could be a sketch, a preparatory work perhaps. A quick study, revealing the hand of the artist and the immediacy of the subject's presence. Does knowing it is a sketch or potential study alter the feel, for you? The incompleteness is like a stolen moment, a glance behind the curtain. Editor: Definitely. It makes it feel less like propaganda and more like...an observation. More intimate. Curator: Exactly! Perhaps we shouldn’t focus on William the King at all, but consider instead William the man. I feel the artist has granted us passage for something very profound. It might be a trick of the light but can you sense the artist wrestling with how they would present that person, that king? Editor: I think I see what you mean. I initially just saw a royal portrait, but now I’m seeing a human being, caught in a moment, thanks to that perceived imperfection and your commentary. It feels like a much richer, more complex image. Curator: Wonderful. I felt that too the first time. And remember, there are not really "right" or "wrong" conclusions to draw, it's about learning more about an artwork over time with continued observations.