Medallion 18th century

Editor: This "Medallion," created in the 18th century by Josiah Wedgwood, features a relief sculpture in ceramic. It strikes me as a very stoic, almost severe portrait. How do you see it, in the context of its time? Curator: It’s a fascinating object because it speaks volumes about the public role of art in the 18th century. Wedgwood was masterful in tapping into the Neoclassical movement, which was not just about aesthetics, but about associating with the perceived virtues of the Roman Republic: civic duty, reason, and stoicism, as you noted. This portrait is a calculated exercise in image-making, contributing to a visual culture steeped in classical ideals that influential people sought to embody. Does the material, ceramic, tell us anything about the audiences that consumed this piece? Editor: It’s interesting that you bring that up! Ceramic makes it feel less precious, almost more…democratic? Like it’s meant for broader distribution, not just the elite. Curator: Precisely. Wedgwood industrialised ceramic production and marketed these medallions widely. He wasn't just selling art; he was selling status, aspirations and membership within a certain cultural and political milieu. It also encouraged a visual rhetoric: Who could *afford* to have a sculptural portrait reproduced? Who had enough societal impact? What impact do you think the distribution of the portraits had on cultural conversations? Editor: It almost feels like early propaganda, influencing people to consider what leaders should value or look like. And who deserves to be memorialized. Curator: Exactly. Wedgwood's "Medallion" is more than just decorative art; it’s a carefully crafted political and social statement, mass-produced and circulated. Editor: That gives me a lot to think about in terms of art as a shaper of societal values and image! Curator: Absolutely, it underscores how art, even in seemingly simple forms, participates in shaping public perceptions and power dynamics.