Portrait of Ivan T. Sazonov 1828

Curator: This is George Dawe's "Portrait of Ivan T. Sazonov," painted in 1828. It’s an oil on canvas depicting a three-quarter profile of a Russian general. What are your first impressions? Editor: He looks...intense. Something about that firm jawline and the way he’s staring into the distance, there's a gravity to it, you know? He seems burdened by duty. And yet there's this soft wash of light that gives him an almost vulnerable aura, a sense of wistful contemplation maybe? Curator: Yes, there’s certainly a duality at play. Note the rigorous composition. The severe lines of his uniform create a stark contrast to the soft, diffused lighting. Dawe masterfully utilizes chiaroscuro, focusing the light on Sazonov’s face, thereby drawing the viewer's gaze and emphasizing his features. It is through such formal devices that we can begin to decode the sitter’s character and societal position. Editor: "Decode"? That sounds so clinical! Look at those colours instead! The stark black and gold of the uniform—especially that elaborate epaulette, looks like hammered sunshine – with that pop of red. It hints at both the weight of responsibility, maybe the burdens of hierarchy but with these fleeting little notes of almost... optimism. Also look at those slightly sad, slightly saggy but full cheeks. The poor general might have been struggling! Curator: His countenance, of course, is crucial. We should consider the socio-political climate. Dawe was commissioned to paint portraits of Russian generals after Napoleon’s defeat. So while individual likenesses were certainly intended, there was also a collective heroism to represent. Thus, we can argue the romanticism of those colour choices are quite subdued here to reinforce ideas around strength in the face of that past geopolitical unrest. The formal rigour emphasizes this in my opinion. Editor: Maybe! Or maybe Sazonov was just really good at keeping a stiff upper lip, as we say these days! But the overall affect is just intriguing. Knowing about that post-Napoleonic context certainly gives you another angle. Makes him seem more of a symbol, doesn't it? All that gold braid practically screams "official business," and even though you could imagine what lies beneath the surface – as human beings are complex – you still wouldn’t take him out to dinner or drinks. Curator: A fascinating piece. It is in paintings such as these, through meticulous examination of form and context, that we start to better comprehend 19th century society. Editor: Exactly, and perhaps too – like this painting's power – every face holds a complex narrative that art has this fabulous knack of hinting at. Even old Generals.