John Carteret, 2nd Earl of Granville (1690–1763) 1744

Editor: This bronze relief sculpture, dating back to 1744, is a portrait medal of John Carteret, 2nd Earl of Granville, by Jacques-Antoine Dassier. The craftsmanship is exquisite! What social function did these kinds of portrait medals fulfill? Curator: Excellent question! Medallic portraits gained prominence in the Renaissance as ways to immortalize individuals and communicate power. They circulated widely, performing a social role akin to printed images today. Think of them as carefully curated press photos. This example, featuring a prominent political figure, John Carteret, likely served to solidify his image and legacy. Who was Carteret? What role did the artist play in crafting and distributing that image? Editor: So it wasn't just art for art's sake? It served almost as a… political tool? The artist then becomes someone almost in service to power? Curator: Precisely! These medals reveal the entanglement of art, politics, and social ambition. The choice of bronze as a medium itself speaks to durability and prestige. Dassier's skill ensured Carteret would be remembered in a specific way, and we can analyze how that image aligned with the political climate of the time. How does the Baroque style play into this? Editor: I guess the ornate wig and the dramatic profile contribute to a sense of grandeur befitting an Earl, fitting to project status... It's interesting how a small object can reveal so much about society. Curator: Absolutely. The medal becomes a microcosm of larger historical forces. It invites us to consider who has the power to create and disseminate images and what messages those images convey. It's a tangible link to the past, illustrating the intricate relationship between art and its socio-political context. Editor: I'll never look at a medal the same way! Thanks for this new perspective.