Portret van James Waldegrave 1762

Editor: This is a print, an engraving actually, of James Waldegrave, created in 1762 by James McArdell, held at the Rijksmuseum. It has this sort of…stately but somber quality to it. What strikes you about it? Curator: Looking at this print, I see the material conditions of its creation reflecting the social hierarchies of the 18th century. The very process of engraving – a meticulous, labor-intensive craft – becomes a statement about the subject's status. Consider the cost of materials: the copper plate, the paper, the ink, and the time invested. Who had access to this technology? Editor: So, it’s less about Waldegrave himself and more about…who could afford to have him reproduced? Curator: Precisely! The print serves as a form of commodity, a visual representation of power circulating within a specific social sphere. The artist, McArdell, becomes a producer in this network, crafting an object that reinforces the existing class structure. How does the very texture of the engraving— the density of the lines, the subtle gradations of tone— contribute to the overall impression of luxury and exclusivity? Editor: That’s a fascinating point; I never thought about the textural qualities equating to luxury. So the “hand-madeness” becomes a mark of value, almost ironic. Curator: Exactly. And the consumption of this image – who owned it, where was it displayed? – tells us even more about the distribution of power and influence at the time. It transforms Waldegrave into a consumable image. Editor: This reframes the way I'll look at portraits now, and other forms of prints, knowing who had access to it, who controlled the means of its reproduction, it all informs the subject portrayed. Curator: Indeed, examining the means of production unravels the intricate relationship between art, labor, and social status.