Self-Portrait with Three Sketches n.d.

Editor: Here we have George Cruikshank’s "Self-Portrait with Three Sketches," a graphite drawing on paper from The Art Institute of Chicago. It’s a fairly simple sketch, almost feels like a practice sheet. What strikes you when you look at this? Curator: I am immediately drawn to the act of self-representation itself. In the context of early 19th-century Britain, think about the burgeoning middle class and their increasing access to artistic tools and representation. The self-portrait becomes more accessible. How does the notion of ‘sketch’ influence our understanding of identity? Is this a true likeness or a performance? Editor: A performance? In what sense? Curator: Consider the power dynamics inherent in who gets to create and control their image. Cruikshank, a celebrated caricaturist, clearly understands the potency of image-making. His self-portrayal is not merely a reflection, it's an active construction of self, mirroring larger societal anxieties of class and status. He positions himself, literally, as the author of his narrative. How do the three smaller sketches function within that framework? Editor: Perhaps he's experimenting with different facets of his identity or different styles? The smaller portraits lack the assuredness of the primary sketch. Curator: Exactly. This self-portrait provides insight into the artist’s understanding of self, representation and societal position. And what about the way he presents himself in the clothing he is wearing? Does it say something about the sitter's gender, social status, or values? Editor: It’s a lot to think about. I appreciate considering this not just as a likeness but as an active statement. Curator: Precisely. Analyzing the artwork by thinking of social and political undertones adds new meanings and makes us think deeply about it.