Plaque with Portrait of George Augustus Frederick c. 1790

Curator: This diminutive plaque, housed right here at the Art Institute of Chicago, presents a portrait of George Augustus Frederick. It was crafted around 1790 by the skilled artisans of the Wedgwood Manufactory. Editor: Oh, it has a kind of fragile dignity. Like a powdered wig trying to hold onto power. It's so contained, almost airless. Does that sound too harsh? Curator: Not at all! The piece embodies Neoclassicism, that deliberate echo of ancient ideals. Consider the muted palette—the creamy white relief against that mauve background—a studied elegance. Wedgwood perfected this jasperware technique, which gives the piece its distinctive matte finish. Editor: The relief is wonderfully crisp; it's such fine work, you almost expect the figure to exhale! Tell me, does the oval shape symbolize anything, or is it just a stylistic choice? Curator: Well, the oval or cameo shape in portraiture dates back to antiquity. It can suggest containment and concision. Here, I think it concentrates the focus on George Augustus Frederick’s profile, lending a timeless air to what was surely intended as a likeness of a very particular man. The lack of sharp angles keeps our eye flowing. Editor: Do you feel any sympathy for him, suspended there in ceramic? Curator: Perhaps a flicker. One can appreciate the meticulous crafting of it while also understanding the somewhat rarified, restrictive world from which this piece emerged. The delicacy contrasts with the weight of societal expectation, maybe even anxiety about the future. Editor: It’s a testament, isn’t it, to how even decorative arts can carry profound whispers about history. That tiny bubble of frozen breath reflects not just a man but the era he defined. Curator: Precisely. There's much more than mere aesthetics at play within this diminutive, powerful object.