Benjamin Franklin (1706-1790), after Mason Chamberlin (1727-1787) 1855

Editor: Here we have George Dunlop Leslie's "Benjamin Franklin," a later copy of the original by Mason Chamberlin. He looks so serious and contemplative. What strikes you most about this portrait? Curator: It's fascinating to see how Franklin's image was deployed and redeployed. This portrait, even as a copy, speaks to the construction of national identity. What does Franklin represent here, and whose interests does that representation serve? Editor: So, more than just a likeness, it's about the *idea* of Franklin? Curator: Precisely! Think about the power dynamics at play – who gets to define a historical figure, and how does that definition shape our understanding of the past and present? It invites us to interrogate whose voices are amplified and whose are silenced. Editor: That's a powerful consideration. I see this portrait in a completely new light now. Curator: Indeed, art serves as a mirror reflecting not just appearances, but also the societal structures and ideological currents of its time.