John Magee Ellsworth 1876

Curator: Isn't this marble sculpture of John Magee Ellsworth, created by Thomas Ball in 1876, just charming? Editor: My first impression is of an incredibly smooth surface and the slightly coy gesture of the boy’s raised hand—almost greeting the viewer, but with a playful hint of modesty. Curator: Modesty definitely plays a role here. Ball sculpted young John, probably around the age of two, holding a drape, a common classical trope referencing idealized innocence and virtue. Editor: The way the fabric clings, almost organically, to his form adds to the composition—see how it defines the weight and the subtle turn of the hip. The craftsmanship on the fabric alone is astounding! Curator: Sculptures like this became fashionable with industrial wealth and patronage from powerful social families. There’s the underlying desire to associate their lineage with this aura of classical idealism. It elevates the child beyond just a simple portrait, making him emblematic. Editor: Right. And notice the base— a classical cylinder. Its presence grounds this young body. We are made to see this sculpture and understand a foundation of power and privilege—though not stated directly. Curator: Absolutely. Consider that during this period, public art gained importance with increased middle-class consumption. Displays like this provided wealthy citizens with an almost instantaneous link between American success and a kind of moral grandeur. Editor: The choice of white marble further emphasizes this idea. White has all the associations of purity and timelessness, doesn't it? It almost creates the feeling that this subject is more idea than mortal boy. Curator: It does add to that sense of almost allegorical significance beyond just representing John. Thank you for focusing on that important nuance. Editor: It’s striking how an apparently simple form invites such complexity.