George Thompson, his Wife and (?) his Sister-in-Law c. 1766 - 1768

Curator: John Hamilton Mortimer’s large-scale painting, “George Thompson, his Wife and (?) his Sister-in-Law,” presents a domestic scene steeped in 18th-century social dynamics. Editor: What strikes me first is the contrast between the seated couple's formality and the woman standing—there's a sense of cool detachment, almost like a stage tableau. Curator: Indeed, Mortimer seems to be portraying a very specific class identity. The elaborate clothing, the books, the almost performative arrangement—it speaks to the self-conscious display of wealth and refinement during that period. Editor: The dog, though, breaks that rigid feel. Dogs often represent fidelity, but its placement adds a subtle warmth against those neoclassical columns. Curator: And the question mark in the title invites us to consider the social position of the sister-in-law. Is she included, excluded, or somewhere in between within this family portrait? It mirrors questions of representation and belonging. Editor: The bouquet she carries seems symbolic of her status, almost like an offering or a subtle reminder of her own potential for marriage. Curator: A fascinating snapshot of Georgian society, really, laying bare the constructs of family, status, and the silent narratives within domestic life. Editor: Yes, the painting uses these familiar archetypes of wealth, subtly revealing the inner workings of the time.