Portret van Thomas Kirgate 1747 - 1797

Curator: This is a portrait of Thomas Kirgate, made between 1747 and 1797. John Hall is credited as the engraver of the work currently held in the Rijksmuseum. Editor: It's quite austere, isn't it? All those tightly hatched lines create a kind of…reserved energy, I'd say. Curator: Indeed. It is neoclassical in its controlled rendering and realism. It echoes a tradition steeped in rationalism, reflecting a society valuing order. Note how Hall’s engraving skillfully mimics the precision and detail characteristic of portrait drawings of the period. Editor: And the figure gazes slightly off to the side—is he looking at something in particular? Or is this more about presenting a specific public image? Curator: Probably the latter. It suggests thoughtful engagement, a hint of intellectual curiosity fitting the image of a prominent figure, while also aligning with visual codes for depicting enlightened individuals. Editor: The engraving emphasizes contour and shape using just line and value, the figure appears bathed in a sort of objective, unwavering light. And that name, “Strawberry Hill”-- the font evokes a sense of quaint authenticity, a grounding. Curator: The print style helps reinforce notions of stability and credibility— essential qualities to project in 18th century portraiture. Remember that during the Enlightenment, representations aimed at truthfulness to instill confidence. Editor: What do you find most telling about its enduring presence, thinking about it today? Curator: The engraving makes the invisible visible— projecting cultural ideas about individuals and success in 18th-century society. Hall’s technical skill turns printed ink on paper into compelling stories. Editor: For me, it’s the level of restraint that's interesting, both technically and aesthetically. It makes you consider how formality impacts a message.