Portret van Lodewijk Napoleon Bonaparte 1806 - 1810

Editor: Here we have Jacob Willem Strunck's "Portrait of Louis Napoleon Bonaparte," made sometime between 1806 and 1810, an engraving. It's so detailed and precise, but also… a little stiff, don’t you think? What strikes you when you look at this? Curator: Stiff, perhaps! But portraits from this period, steeped in Neoclassicism, were all about projecting power and order, you see. Less about capturing a fleeting emotion, and more about immortalizing the sitter as a figure of authority. And Strunck really leans into that. What do you make of the circular frame and the stark profile view? Editor: I guess the circle gives it kind of a classical, coin-like feel? But it's also distancing. I'm more drawn to art that feels…personal. Curator: Personal, yes, but kings rarely strive for relatability! Look closely at the detailing on the uniform, though. The painstaking engraving really highlights the medals and epaulettes. Think of it as propaganda, carefully constructed to reinforce his legitimacy as King of Holland. The almost scientific precision is fascinating in itself. Editor: Propaganda, right! Like an official stamp. I still think it's kind of cold. Curator: Perhaps, but I see a dedicated craftsmanship. A skilled engraver interpreting a king who’s already interpreting himself for the public eye. Editor: So it's a performance, about a performance, by another performer… wow, it’s performances all the way down. Curator: Indeed! Next time you look at a portrait, especially from this era, ask yourself: What story is it trying to tell? And who’s pulling the strings? It opens up a whole new way of seeing. Editor: I get that. Thanks. Now I'm wondering what *Louis* thought about the final portrait, or whether he cared. Curator: Now *that's* a question worth pondering! The artist serves the sitter who serves his political image... circle closed, maybe?