Portret van Emily FitzGerald 1754

This print of Emily FitzGerald was made by James McArdell in the mid-18th century using a technique called mezzotint. Unlike engraving, where lines are cut into a metal plate, mezzotint begins with roughening the entire surface to create a field of tiny dots, which would print as solid black. The artist then burnishes or scrapes away areas to create lighter tones. Look closely, and you’ll see how McArdell uses this labor-intensive process to render the textures of FitzGerald’s opulent clothing – the sheen of the satin, the delicate lace. Consider the sheer amount of work involved, not only in the printing process but also in the weaving and embellishment of the sitter's garments. In this way, mezzotint was well-suited to capturing the material splendor of the era. It also speaks volumes about the social hierarchies of the time, and how one's status was expressed through the skillful manipulation of materials. By attending to the making, we can begin to understand the world of the artwork and how it connects to wider issues of labor, politics, and consumption.