Portret van William Pitt 1799

Curator: Looking at this 1799 engraving of William Pitt by Charles Howard Hodges, I see more than just a portrait. What strikes you about it? Editor: It’s so detailed for an engraving! I notice the incredible detail in his face and clothes, the frilly collar especially. What’s really interesting to me is the contrast between the textures. What do you see in this piece beyond just the representation of Pitt himself? Curator: For me, the real story lies in the labor and materials. Engraving in the late 18th century was a highly skilled craft, a commercial enterprise dependent on both artistic talent and technological means. Look at the lines – each one carefully etched to create light, shadow, and texture. Consider the copper plate itself, mined and processed. Think about the social context of production: who commissioned it? Who bought it? Editor: That makes me consider it in a completely different way, thinking about the hands and resources that were needed to make it. It’s not just an image of William Pitt, it's a record of a whole system of labor and materials. Curator: Exactly. How does this change your perception of “art” versus “craft”? Where does the boundary lie, especially in a period like this, when printmaking played such a crucial role in disseminating information and constructing public figures? And who benefitted from its production? Editor: It blurs that line considerably. I initially saw it as a formal portrait, high art, but framing it in terms of production and labor makes it more about commerce and communication. I guess, you have to look at the process to understand that. Curator: Precisely! By focusing on the materials and methods, we can excavate the hidden narratives embedded in this image and understand how it participated in the economic and social fabric of its time. Editor: This has given me a lot to think about, like the economics of art in 1799. Thank you!