Portrait of a Man 1680

Editor: This is David Loggan's "Portrait of a Man" from 1680, a pencil drawing. The detail in the lace and the wig is just incredible! What stands out to you most about this drawing? Curator: The first thing I notice is the obvious display of wealth and status coded into the very materials. The fine lace, for example. Its presence speaks volumes about trade networks, skilled labor, and the textile industry of the time. Editor: So, more than just the subject's appearance, you're looking at the materials themselves as a marker of something? Curator: Precisely! Think about the labor that went into producing that lace, and how it functions within this portrait. The pencil itself – where was it sourced? Who prepared the lead? This isn’t just about Loggan’s skill; it’s about a whole system of production. Editor: That makes me think differently about portraits from this period. It’s not just about who is being portrayed, but about what materials are being consumed and showcased. Curator: Exactly! It begs questions about patronage, the economics of portraiture, and how these objects functioned within a consumer society. It subtly challenges the hierarchy between ‘fine art’ and craft. What stories are embedded within each material element? What social and political relationships enabled the production of both the sitter’s apparel and the tools employed by Loggan? Editor: I've never really thought about a portrait in terms of supply chains! That gives me a whole new perspective. Curator: Good. I hope you see now that focusing on materials is about moving away from aesthetic judgments towards understanding art as a product of specific labor practices, technological innovation, and social interactions.