Mary, Queen of Scots 1800 - 1835

Editor: Here we have Jean Bonvoisin’s engraving of Mary, Queen of Scots, made sometime between 1800 and 1835. The level of detail Bonvoisin achieves with line is amazing, and the overall impression is one of quiet dignity. What do you see in this portrait? Curator: I see more than just dignity; I see a carefully constructed representation intended to legitimize a particular historical narrative. This engraving wasn't made in Mary's time. Consider the early 19th-century context, the rise of Romanticism and its fascination with tragic figures from the past. How do you think that influenced Bonvoisin's choices? Editor: I suppose the artist wasn't just making a portrait; they were shaping her image for a new audience. A Romantic audience that sympathized with tragic figures. Does that also mean this isn’t a completely faithful representation of what she actually looked like? Curator: Precisely! Printmaking at this time had become quite sophisticated. Think about who commissioned this work, how it was distributed, and the socio-political goals it served. Was it meant to solidify royal claims, evoke sympathy for lost causes, or simply capitalize on a popular historical figure? Editor: So, the print is an artistic object, but also a historical document. It tells us about Mary, but perhaps even more about the era in which it was made. It gives agency to the author who reproduced it, beyond simply their draftsmanship. Curator: Exactly. Consider the public role of art like this. It reinforces, questions, and negotiates history, always reflecting the politics of its time. It is about how the past gets revised and re-presented, according to period concerns. Editor: This has really broadened my perspective. I was focusing on the aesthetic aspects, but it is critical to consider the social and political environment that shaped it. Thanks! Curator: And thank you for bringing your fresh eyes. Remembering that images are never neutral is the first step to understanding their true power.