Sir Nicholas Poines 6 - 1795

Editor: This is Francesco Bartolozzi's "Sir Nicholas Poines," a print from around 1796, done with graphite and engraving. It has such a distinguished, refined air about it, almost aristocratic. What do you see in this portrait, Professor? Curator: It’s fascinating how Bartolozzi, working in the late 18th century, evokes this almost nostalgic gaze toward figures of power. The subject, positioned in profile, is literally framed within a specific historical context, signified by his attire. How do we reconcile this image of nobility with the socio-political upheavals of the late 1700s? Does this idealization uphold existing hierarchies, or is it, perhaps, a commentary on their fragility? Editor: That's a great point. The French Revolution was raging at that time, right? Curator: Precisely. Think about the power dynamics inherent in portraiture. Who is being represented, and for what purpose? This engraving isn't simply a likeness; it's a constructed representation that speaks to the anxieties and aspirations of a society on the cusp of radical change. Editor: So you’re saying that Bartolozzi might be using this image of Sir Nicholas Poines to comment on social class and shifting power during a time of major upheaval. Is that right? Curator: Exactly. And further, consider the means of production - an engraving makes Sir Nicholas reproducible, shareable...almost propaganda. Is Bartolozzi offering us an uncomplicated celebration of aristocracy, or are there threads of critique woven within? What does that tell us about the function of art, and artists, during times of radical change? Editor: I hadn’t thought of it that way. Now, it makes you consider all those things. Curator: Art becomes this incredible historical document that can illustrate periods of political change and challenge us to reconsider how we perceive the subjects being presented.