Largillierre, efter selvportræt 1726 - 1748

Editor: Here we have "Largillierre, efter selvportræt," a self-portrait by David Gardelle, made sometime between 1726 and 1748 using oil paint. It has an intimate feel despite being a formal portrait, maybe because of the slightly tilted head. What strikes you about it? Curator: What stands out for me is the construction of identity in this era. Here’s a male artist representing himself with a certain… performative masculinity. Look at the elaborate wig, the rich fabric. But is it simply vanity? Consider the socio-political implications of portraiture then. How was status communicated, solidified, and indeed, consumed through images like this? Who was this portrait for, and what message was Gardelle intending to send? Editor: So you're saying it’s less about a literal likeness and more about projecting an image of power? I hadn't thought about the 'who' as being such an active part of the art. Curator: Precisely! The artist inserts himself into the societal conversation, asserting his place within the artistic establishment. What are your thoughts on the gaze? Notice the hand gestures, as well. They are never arbitrary, but meaningful articulations of status and intent. Consider how societal biases about artists affected their position. Editor: The hand gestures do feel deliberate now that you mention it. There's such precision in the portrayal, an interesting mix of the approachable and the self-important. Curator: And those contradictions are exactly where the intrigue lies! Gardelle is not simply showing us *who* he is but commanding how he *wants* to be seen in the grand theatre of 18th-century French society. These artistic decisions become a language, speaking to those who understood its nuances, even today. Editor: I’ll never look at a portrait the same way again. Thank you! Curator: My pleasure. Let's continue unraveling these histories!