Portret van Ernst van Oostenrijk c. 1593s - 1603s

Editor: This is Lambert Cornelisz's "Portrait of Ernst van Oostenrijk," an engraving from around the turn of the 17th century, currently held at the Rijksmuseum. It has such a formal, almost austere, feel, even with the rather flamboyant ruff and hat. What strikes you about this image? Curator: Well, first off, it makes me think about power, doesn't it? Not just in the figure himself, Ernst, Archduke of Austria, but in the *act* of creating this portrait. Imagine the power dynamics – the artist, Cornelisz, capturing and conveying Ernst's authority, knowing his work would be disseminated as a print! I mean, who gets to be remembered? Who *decides* who gets remembered? Look at that oval frame too, containing all the pronouncements of the man’s stature. What a package of personhood for posterity! Does that oval make you feel he’s trapped? Editor: Trapped is interesting. I hadn't thought of that. The lettering around him is ornate, but yeah, maybe also a bit like being caught in a frame, or maybe pinned, like a butterfly... How does knowing this was a print change how we see it, compared to if it was a painting? Curator: That's the real kicker, isn't it? A painting feels...unique. This? Reproducible! Infinitely, theoretically. It’s about propaganda, about projecting an image, literally. Think of all the hands this image passed through, shaping opinions and reinforcing power structures. Makes you think, doesn't it, about our Instagram feeds today. Still playing the same game of images? Editor: Wow, that connection is wild to think about. I never really considered a print as propaganda before, but it totally makes sense here. Curator: Exactly! We can be trapped in an Instagram feed as well. Perspective, right? Always shifts depending on the light… and in this case, the printing press.