Portret van John Cartwright 1748

Editor: Here we have James McArdell's "Portret van John Cartwright," made in 1748. It's an engraving. There's something very down-to-earth about this image, the way he's casually dressed and has that almost sly expression. What's your take? Curator: It's fascinating how class and labor intersect in this image. The engraving is from 1748, situating it during the Enlightenment, a period grappling with emerging ideas of individual worth against entrenched social hierarchies. Cartwright is identified as a "Gardiner & Florist," placing him in a liminal space, a skilled worker, but likely not part of the aristocracy. Editor: So, the portrait isn't just a depiction of a man, but also a commentary on social mobility? Curator: Exactly. Consider the bird perched on his hand. Is it merely a symbol of his trade, or does it represent a longing for freedom and elevation beyond his station? The inscription hints at his value and what "Kind of Sof'did Nature gives." McArdell, through the baroque style, subtly challenges perceptions of who deserves representation. Does the work feel subversive to you? Editor: It's subtle, but I see it now. The way he's not idealized but shown with character, gives a sense of agency. Curator: And consider, whose stories are typically told in art? By representing someone like Cartwright, even in a conventional style, it's an act of resistance to dominant narratives. Editor: That gives me a whole new appreciation for what a portrait like this could represent in its time. Thank you. Curator: And thank you, it’s in looking at these stories that we can understand both where art comes from, and what its future could look like.