Portret van Mary Smith c. 1755

Curator: Ah, look! Before us is James McArdell’s “Portrait of Mary Smith,” created around 1755. It's an engraving, currently residing at the Rijksmuseum. Editor: My initial impression? She looks...serious. That wide-brimmed hat casts a shadow, almost a weight, over her face. I feel a definite stoicism, perhaps a weariness. Curator: Indeed. Portraits from this period often carry that gravitas. Notice the detail in her lace shawl and the satin of her gown. These visual cues suggest a certain social standing, a place within the hierarchy. And that hat - it speaks volumes about fashion and modesty. Editor: Modesty with that bow? It’s almost coy. But her direct gaze, unwavering, seems to contradict any real coyness. There’s a power dynamic here; she’s allowing us to see her, but on her own terms. Curator: Absolutely. And it's McArdell's skill as an engraver that captures these nuances. He utilizes light and shadow, the symbolic language of chiaroscuro, to create a sense of depth and character. Think about the cultural associations of lace, or the soft curves which became prevalent through the Romantic style. It presents history with feeling. Editor: It’s like a story etched in grayscale. Who was Mary Smith? What were her dreams, her fears? The artist gives us just enough information to build our own narratives. And doesn't the print medium allow more people access to art? Democratization by duplication... Curator: Precisely. The print allowed this image, this representation of Mary Smith, to circulate more widely. Perhaps this portrait ensured her presence in the visual memory, a cultural perpetuity if you will, past her own time. Editor: So, in a way, we're still meeting Mary Smith today, centuries later. Still trying to decipher the secrets held within that somber gaze and flamboyant hat. Curator: It is quite special. To me it embodies a remarkable preservation. Editor: Agreed. It's an evocative window, no doubt, with the Romantic touch hinting at a world we can almost touch.