Simon Wilmot 1760

Curator: Here we have Joseph Wright of Derby's "Simon Wilmot," painted around 1760. It's currently held in a private collection. Editor: Oh, what a perfectly serious little fellow. He seems a bit overwhelmed, doesn’t he? I mean, imagine being trussed up in that frilly lace at that age. The weight of expectation, visible even then! Curator: Absolutely. Child portraiture in this period was very much about signaling family status and future prospects. The lace, the tailored coat, it all speaks to the privileged world Simon was born into, the socio-economic environment awaiting his ascendance. Editor: Still, look at his eyes. There's a flicker of something… rebellion, maybe? Or just boredom. You know, thinking about how quickly that stiff outfit must itch. Is it wishful thinking that I want him to yearn to flee to somewhere that isn't so suffocating and airless? Curator: Wright was a master of capturing light, wasn't he? Notice how it illuminates Simon's face, bringing out his youthfulness. Then look at the shadowy background - stark contrast against that radiant face. A way, perhaps, of pointing toward his bright potential as opposed to the conformity demanded by his era and background. Editor: Right. The light practically shouts "potential," while all those gold buttons and that constricted waistcoat whispers about expectations! I almost feel sorry for the little guy. Almost. He doesn’t look particularly thrilled. The thing that makes the whole scene for me is the sense that Wright, somehow, also saw him, and perhaps saw a little of himself there. Trapped by expectations in some sense. Curator: It is a compelling piece for those reasons and more. "Simon Wilmot," in its own way, serves as a powerful example of what was deemed suitable portraiture, while simultaneously and ironically leaving space for readings against that same grain. Editor: Well put! I think next time I see a little boy dressed in similar frills, I will smile sympathetically in knowing shared captivity.