Portret van de dochter van Thomas Hudson 1735 - 1756

Curator: Oh, I find this print utterly enchanting. There's such a dreamlike quality about it. Editor: Indeed. Here we have "Portret van de dochter van Thomas Hudson," a print created sometime between 1735 and 1756 by John (II) Faber. It's an engraving rendered in that elaborate Rococo style. What strikes me immediately is how the engraver utilizes this medium to emulate the sheen of satin and create a play of light and shadow to render volume to this aristocratic woman. Curator: The satin almost spills off the canvas, doesn't it? It makes you want to reach out and touch it, and I am captivated by the quiet bond she seems to have with her little dog friend. Editor: Semiotically, the image offers an intriguing discourse. The young woman, poised next to what seems to be an urn adorned with classical figures, stands as a marker of idealized beauty and aristocratic refinement. The dog—presumably a loyal companion—anchors the composition and perhaps introduces an element of domesticity into this idealized portrayal. Curator: Right? She seems almost too good to be true, yet the presence of her puppy at the skirt of her dress gives the feeling she isn’t stuck up. Editor: The composition further contributes to its Rococo nature: note the ornamental details, soft pastels... Curator: Or, well, their tonal equivalents. I wonder, was it meant as a sort of coy tribute to Hudson by Faber? It feels, I don’t know… celebratory. It has the energy of a birthday card. Editor: The question remains: What nuances in expression and posture reveal societal attitudes toward beauty, gender, and class during this era? Curator: I will leave that for the theorists to uncover! I am much too busy picturing Miss Hudson stepping out of the engraving into a moonlit garden to enjoy it. Editor: The print indeed remains an enchanting artifact and testament to the aesthetic sensibilities and technical skills characteristic of the era.