Edward Smallwell (1721–1799), Bishop of Oxford 1796

Editor: This is George Romney's portrait of "Edward Smallwell (1721–1799), Bishop of Oxford," painted in 1796 using oil paints. It strikes me as quite austere. What are your thoughts? Curator: Well, let’s look beyond the immediate image and consider the materials. Oil paint, for instance, was itself a marker of a certain class and patronage. Consider the pigments used. Were they locally sourced or imported? That impacts the reading of Smallwell himself. Editor: That’s fascinating! I never considered the geographic origins of the materials. Does that have an impact on the message Romney was conveying? Curator: Absolutely. Romney likely acquired the highest quality materials to depict a man of the cloth, which speaks volumes of Smallwell’s social position and influence. Also, examine the clothing. The fabrics – presumably linen and wool – speak to industries supported by the economic engine of England and how this supported the Church of England as well. Editor: So, by analyzing the materials Romney used, we are in fact looking at a depiction of socio-economic contexts? Curator: Precisely! It reveals a great deal about the relationship between the sitter, the artist, and the society they inhabited. Romney’s labor to complete this commission fed into his own financial sustainment as well, providing an exchange of resources between artist and patron. Do you notice the rendering of those sleeves and the soft luminosity that requires great technical expertise? This labor of representation further elevates Smallwell in the public imagination. Editor: I see. By focusing on the labor and the specific type of pigment used by the artist and how it emphasizes the materials that make up the setting for Smallwell. Fascinating, I had never thought of it in those terms. Curator: It reveals so much when you delve into those processes and consider the role materials played. Editor: Thanks! I am excited to consider these new insights during my study of the artwork!