George Washington 1786 - 1793

Editor: This is Jean-Antoine Houdon's marble bust of George Washington, made between 1786 and 1793. It’s surprisingly lifelike. What complexities are at play here? Curator: Well, it’s tempting to view this simply as a portrait, but it's essential to remember the political context. Neoclassical sculpture, like this one, was often used to legitimize power and authority, but how? Consider that Washington owned enslaved people; his power and position was tied to these inequities, but that is not visible here. Editor: So, in a way, it’s a kind of... whitewashing? Curator: Precisely. The clean lines and classical allusions connect Washington to an idealized past, invoking notions of democracy while obscuring the realities of the present. How does it make you feel knowing this wasn’t a neutral artistic choice but one made in the midst of political, ideological struggles and trade-offs? Editor: It’s uncomfortable to see how art can be complicit in these narratives. This idealized image conflicts sharply with the reality of a nation grappling with inequality. Curator: It absolutely should. But it’s important not to let that discomfort prevent you from questioning, exploring, and revealing what you see, in art, and the power structures reflected in society today. It requires recognizing how art history is intrinsically linked to cultural, gender, racial and other oppressions and historical movements of social liberation. Editor: Thank you. I hadn't considered that, but I will now. I learned so much. Curator: I'm happy to have helped facilitate a critical understanding that can then inform the stories you will want to reveal!