Augustus Wall Callcott, R.A. 1847

Curator: Let's turn our attention to this portrait by John Linnell, created in 1847. It's an oil painting, titled "Augustus Wall Callcott, R.A." Editor: He looks like he knows something I don’t… and I don't appreciate it. Very… stern? Although, maybe it's just the fashion of the time. Big, dark coat, very imposing. Curator: Right, Linnell was operating within the Romantic style. We have to understand the subject and the period to understand the presentation. Augustus Wall Callcott was a very successful landscape painter, a Royal Academician himself, and the portrait reflects his professional status. Editor: I wonder if he’s comfy? That collar looks a bit stiff. The colours are so muted, all browns and blacks, then POW! a flash of scarlet in the background. Dramatic much? Curator: That splash of colour helps define the sitter's space, and locate him within a framework of privilege. Color in portraits, and particularly the presence or absence of certain colors, were often deliberately employed to telegraph information about the subject’s status, moral standing, or profession. The subdued palette and formal attire reinforce his gravitas. Editor: Do you think he chose that shade of red, or did the artist just plop it there for visual zing? Makes me think of old movie sets; slightly stagey. He does look very proper in his black coat though. Curator: Considering social norms and portrait conventions, it is more likely the artist deliberately used color to highlight a certain dimension of his character that reflects well on him. Linnell and Callcott were peers within the art world; how might Linnell use this portrait to comment on his friend's social standing or artistic identity? Editor: Ah, so the red could be Linnell's little nod, a wink acknowledging Callcott's standing. Still a bit stuffy for my taste, but fascinating when you unravel the layers. It does make me appreciate how much is being said in such a controlled way. Curator: Exactly! Romanticism emphasized individualism and emotion, but it was also deeply intertwined with social hierarchies. Examining Linnell's choices through a socio-historical lens brings out how that tension plays out even in portraiture. Editor: I’ll never look at an old portrait the same way again. Suddenly feels like everyone is whispering secrets.