Portret van David Erskine 1765

Editor: So here we have a portrait of David Erskine, dating back to 1765, created by John Finlayson. It's a print, an engraving. The details are impressive, especially the lace collar. I’m struck by how the materials chosen – graphite and engraving – give it this… sort of somber elegance. What's your take on it? Curator: Well, look at the labour involved in creating an engraving like this in 1765. Each line meticulously etched, a clear demonstration of skilled craftsmanship, reflecting the value placed on hand production. The printmaking process also makes the artwork more widely accessible beyond painting, right? Think about how this changes the art market and art consumption in that era. Editor: That's a fantastic point! I hadn't really considered the impact of printmaking on accessibility, just the artistic skill required. Does that accessibility impact who the portrait is portraying, as well? Curator: Precisely. Consider Erskine's social status – a member of the aristocracy. The choice of an engraving allows for wider distribution of his image, almost functioning like early modern public relations. Also, consider the social context: How did printmakers’ workshops operate? Were they employing many hands? Think about their labor and compensation. How were class differences being reinforced in the very means of making and selling such portraits? Editor: Wow, thinking about the social and economic context like that really brings a whole new level of understanding to this portrait. Thanks, that's given me a lot to think about! Curator: Absolutely. And the dialogue is what reveals meaning. Now, imagine analysing contemporary artworks through similar lenses! It changes everything.