Mary, Queen of Scots 1735 - 1765

Editor: This is Robert Strange's "Mary, Queen of Scots," dating roughly from 1735 to 1765. It's an engraving. The precision in the ruffled collar and details is incredible! What stands out to you when you look at this work? Curator: Well, I immediately consider the process of creating this print. Think about the labor involved in engraving each tiny line, reversing the image onto the plate. How does that meticulous process shape our understanding of Mary's image and its consumption? Editor: I never really considered it from the angle of how it was made; just from how it looks. Curator: Exactly! This wasn't just about aesthetic representation; it was about production and access. Engravings democratized portraiture. It allowed for wider circulation, turning Mary into a commodity, an image for public consumption. What does this widespread accessibility say about 18th century society? Editor: That's fascinating. So, the availability of the print changed Mary's role? Curator: Precisely. She's not just a queen, but an object of visual culture. The material allows for reproduction, facilitating the commodification and dissemination of her image for political or social means. It begs the question of authenticity, doesn’t it? This is one of potentially thousands of identical images; does that dilute her presence or amplify it? Editor: Wow. Looking at it now, I can see how the engraving isn't just a picture; it's a product shaped by labour and intent. Curator: Absolutely! And recognizing that fundamentally changes how we perceive its historical significance and influence. Editor: It does; thanks to you I'm thinking a lot more deeply about how prints function within a wider society. Curator: Exactly. Analyzing art through the lens of its material production and circulation reveals fascinating insights!