Czar Peter the Great of Russia (1672–1725) 18th century

Editor: So, this striking dark ceramic sculpture depicts Czar Peter the Great, created in the 18th century by Wedgwood and Bentley. The profile is so severe; what strikes you most about it? Curator: Well, considering Wedgwood and Bentley's broader production and market, I think it's interesting how this work positions Peter the Great. Here, in a distinctly Neoclassical style usually reserved for depicting Roman emperors, a very deliberate choice is made to visually align him with that legacy of power and authority. What kind of message do you think that sends? Editor: I suppose it elevates Peter, giving him a kind of immediate, classical legitimacy? Like, "he's not just a Czar, he's an emperor in the Roman tradition." Curator: Exactly! It is less about what Peter actually *did*, and more about constructing and reinforcing an image. This relates to the public role of art: Wedgwood wasn’t simply making art objects. These ceramics became powerful tools in shaping public perception and reinforcing sociopolitical ideas. This was how institutions like the Met, where the piece resides today, were also taking shape in society. Editor: It's like a really early form of propaganda! How did this neo-classical style play into the political context of that time? Curator: Neoclassicism was itself deeply entwined with political ambitions and emerging national identities. Across Europe, the style evoked ideas of rationality, order, and imperial grandeur, which aligned perfectly with Peter the Great’s image as a ‘modernizing’ ruler. Editor: That’s really interesting, framing the artistic choices in this sculpture in the wider scope of history, influence and politics makes you realize how artworks don’t exist in a bubble. Curator: Indeed. Hopefully, this way, we've unearthed something new and provocative about how images of power are manufactured and disseminated.