Crying Forfeits c. 1770

Curator: I’m immediately struck by the vulnerability of this piece; there’s such rawness on display. Editor: Indeed. What you're sensing is beautifully captured in Joshua Reynolds' "Crying Forfeits," an oil painting dating from around 1770. Curator: Right. Three children are present, arranged almost theatrically. One kneels, head buried, while another gestures commandingly, and the third watches the drama unfold. The title suggests they are acting out "forfeits"—the consequences of misdeeds during a game. It’s like witnessing a very private, hierarchical scene. Editor: I would say that Reynolds masterfully positions these young figures in a way that echoes classical compositions. We have this dramatic spotlight effect from above—it frames them within an Arcadian setting. I also see it as the beginning of the popularity of painting childhood during the Romantic era. Childhood as a sort of idyllic stage. Curator: That's a very interesting point of view because while the idyllic notion exists, there’s an undertone of tension and performance here too, I mean is it as candid as we think it is? Do these children, performing "forfeits", realize their role within Reynolds’ narrative—one designed for the amusement or perhaps moral edification of adults viewing this piece in salons? Editor: And considering the period in which Reynolds was active – his role within the Royal Academy and the rise of celebrity portraiture - I feel obliged to interpret his work not only in relation to artistry but the dynamics of display within the social echelons of his period, even questioning who could gain access to art galleries and which audiences they catered to! Curator: Precisely, what we find interesting now could mean something completely different depending on how and who experienced its showing when it was produced, like this glimpse of a childhood, filtered through the artist’s vision and social status. Editor: Reynolds gives us the Rococo softness we have become accustomed to alongside a scene that causes the viewer to linger over an emotionally charged depiction. An uneasy blend. Curator: I agree. “Crying Forfeits”, rather than being merely a portrait of childhood innocence, serves as a nuanced exploration of the societal performance expected in 18th-century Britain. Editor: Reynolds certainly gives a powerful insight into youth and the expectations put upon it. A very layered piece.