Bankier J. Hambro 1851

Editor: This is H.W. Bissen’s "Bankier J. Hambro," a marble sculpture from 1851. It feels very…stately, and the marble gives it such a cool, smooth texture. What can you tell me about it? Curator: Consider the marble itself. Where did Bissen source it? Who were the laborers involved in quarrying and transporting this material? Marble, especially in 1851, wasn’t simply a neutral artistic medium. Its extraction and use carried significant economic and social weight. How does that affect your reading of the sculpture? Editor: That's a perspective I hadn't considered. So, the choice of marble itself speaks to Hambro's wealth and power, but also to the unseen labor behind the artwork? Curator: Exactly. Think also about the neoclassical style. It wasn’t just an aesthetic choice. Neoclassicism harked back to a specific idea of ancient Rome, laden with associations of empire, law, and established hierarchies. How is Bissen, through his sculpting, contributing to Hambro's image, and also reinforcing a specific societal structure? Editor: It’s almost like the sculpture isn't just portraying a man, but also embedding him within a system of power – both economic and historical. Curator: Precisely! Consider how the circulation of these sculptures contributed to social capital for both the artist and the subject, solidifying reputations through a physical display of wealth and connection. Editor: I hadn’t thought about it that way. The marble, the style, it all adds up to a statement about the social and economic context. It is less about the aesthetic. Thank you. Curator: And conversely, we’ve examined the economic factors behind what looks like pure aesthetics. Food for thought.