Portret van Edward Maurice c. 1745 - 1765

Editor: So this is "Portret van Edward Maurice" by James McArdell, dating from around 1745 to 1765. It's a print – an engraving – and there’s a real sense of formality to the sitter. The composition is very balanced, but there’s something almost melancholic about the lighting. How do you read this work? Curator: Indeed. Let's examine the internal relationships first. Notice how McArdell employs a limited tonal range to define form and space. The subtle gradations, particularly around the face and the wig, create depth, yes? How does this limited tonal palette affect the viewer’s perception? Editor: It definitely makes you focus on the form of the face and the detail in the hair. The clothes sort of fade into the background. It almost feels sculptural. Curator: Precisely! And observe the baroque convention: The light doesn't appear to have a source. It doesn't illuminate the composition with realism, but creates an abstract construction, highlighting select areas. Editor: So, it’s more about how the light shapes the composition rather than representing actual light? Curator: Absolutely. We must attend to the inherent qualities of the artwork first before indulging in assumptions about the real world. Do you note a pattern in the buttons on his jacket that mirrors his stare? Editor: Yes! And the curve of his hand mimics the curve of the wig…I hadn't noticed that. So, is it like a study of curves, texture, and a specific range of grey values? Curator: Exactly! McArdell meticulously balances these formal elements to create a visually unified, self-referential work. A play of shape that repeats and echoes across the image itself. Editor: That makes me see it in a totally new way! Thanks. Curator: It is the essence of Formalist interpretation. There is a world to learn by analysing shapes.