Dimensions support: 542 x 432 mm
Editor: This is Sir Edwin Landseer's, "The Duchess of Abercorn and Child," currently housed at the Tate. It's a sweet painting; almost feels like a stolen moment of domestic life. How do you interpret the quiet intimacy here? Curator: Oh, it whispers volumes, doesn’t it? Landseer, primarily known for his animal paintings, captures the tenderness, but also the societal expectations. Look at the dog, a symbol of loyalty, guarding the child. The key held by the Duchess hints at her role in managing the household, a subtle assertion of power within the domestic sphere. Editor: So, it's less about pure maternal affection and more about status and duty? Curator: Perhaps a dance between the two. I see a mother's gaze, yes, but also the weight of responsibility. What do you think the muted colors contribute? Editor: They soften it, make it feel less like a formal portrait and more personal, more real. Thanks! Curator: Indeed. A glimpse into a life, carefully curated yet undeniably human. It's always a pleasure to ponder these nuances.
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http://www.tate.org.uk/art/artworks/landseer-the-duchess-of-abercorn-and-child-n03008
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This is a version of a portrait Landseer painted in 1834. It was probably painted in 1836, the same year it was engraved for 'The Book of Beauty'. It shows Louisa Jane, wife of the first Duke of Abercorn, with the first of her fourteen children, Harriet, who was born in 1834. The Abercorns were among Landseer's most loyal patrons. He often visited them at their home in Surrey. He also made frequent trips to their hunting lodge at Ardvereike in Scotland. Landseer was an accomplished portraitist. He was also a master of the kind of sentimentality which the 'Book of Beauty' and other annuals specialized in. However, he is now chiefly remembered for his animal paintings. Gallery label, September 2004
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