Thomas Keymer of Kidwelly, À La Chinoise 1754

Editor: Here we have Gavin Hamilton’s 1754 oil painting, "Thomas Keymer of Kidwelly, \u00c0 La Chinoise". The orientalist themes are quite striking. How should we approach this from a cultural and historical context? Curator: This portrait screams materiality. Look at the rendering of the sitter's clothing: the deep brown fabric and how it drapes. But it’s more than just about aesthetics; it's about accessing the exotic 'Orient' through imported goods and, indeed, dressing oneself 'à la Chinoise'. Do you see the hat and stylized robe? Editor: Yes, it appears the artist is focused on accurately representing each item of clothing. But this feels so contrived. How does that impact your reading of it? Curator: Precisely. This manufactured vision was a commodity in itself. Hamilton, like other artists of the time, was catering to a market fascinated by the "Orient", but with very little firsthand experience of it. It reduces cultural elements to mere fashion and status symbols. What was consumed mattered more than genuine understanding or appreciation. What about the production of the oil paint? How was this influenced? Editor: Good question. It's intriguing to think about how something as simple as the pigments could contribute to this cultural exchange, or in some cases, exploitation, right? Thank you for shining a light on that. Curator: Indeed. The means and motives are intertwined and essential to the artwork.