John Van der Wall c. 1745

Curator: Let’s discuss this portrait by Thomas Hudson, titled "John Van der Wall," painted around 1745, now residing here at the Art Institute of Chicago. Editor: My immediate impression is how subtly sumptuous this portrait is; the shimmer of the oil paint makes you want to reach out and touch the fabrics. Curator: Absolutely. Considering the painting through the lens of its time, the man's attire and confident pose symbolize his social standing. It suggests an assertion of identity. How does the sword and mask influence the narrative? Editor: For me, it's all about the surface qualities of the clothing itself. See how the red belt is constructed, as is the cuff detail that peek from underneath the coat sleeve? Those fabrics are rendered meticulously with rich layers and varying brushstrokes that showcase an understanding of how materials convey status and power. Curator: I also consider how such paintings worked ideologically. Aristocratic masculinity was predicated on a set of exclusionary rules—who was allowed in, and who was forced to remain on the periphery of the elite class. Consider how the man holds a mask in his hand. Is he coming or going from an event, or speaking more broadly to the act of 'masking' oneself in order to play a part in society? Editor: I hadn’t thought of that—it adds another dimension to the portrait's complexity. Looking at the construction of his tailored garments makes me aware of the labour involved; it seems the artist is also showcasing the materiality of class and consumption. It's more than just paint on canvas. It shows an appreciation of the artistic skill required in fashioning fine material goods. Curator: It seems as though the artist not only demonstrates his artistic capabilities through rendering the fabrics with oil on canvas, but also indicates an awareness of the socio-political implications interwoven within art itself. Editor: And those social and historical forces are further influenced by how these luxury garments are made in the first place. Thinking about production and labor, both in making the painting, and the garments portrayed. Curator: I am leaving this piece thinking about identity, performance, and the quiet societal pressures quietly hinted within these formal portraits. Editor: For me, it's the alchemy of the painting process itself; base pigment refined and worked into something with beauty that reflects the opulence of Van der Wall's own material world.