Rev. William Patton 1820 - 1837

Curator: Up next is a work by Asher Brown Durand titled, "Rev. William Patton," created sometime between 1820 and 1837. It's an engraving, currently held here at The Metropolitan Museum of Art. Editor: He looks...severe. I mean, distinguished, of course, but there's a firmness in his gaze. Very proper. Makes you wonder what he's really thinking, doesn't it? Curator: Durand was a master of capturing likeness, no doubt shaped by the prevailing social mores of the time, but this piece shows more than that. Engravings, you see, democratized portraiture, making it accessible beyond the elite. Editor: Right, this wasn’t some oil painting commission reserved for the upper crust. Suddenly, middle-class folks could immortalize themselves—or, in this case, their revered pastor. Though, there’s a bit of an everyman quality despite the fancy suit. Could be the neighborhood tailor, or lawyer. Curator: The rise of print culture had a massive impact on the spread of information and the formation of public opinion in the 19th century. Prints like this, were instrumental in shaping the image, quite literally, of prominent figures. Editor: Did they soften the blow for subjects? Like, he looks rather stoic and composed— is that purely the style of the time or could Durand have added a touch to promote some personal angle? Curator: The conventions of portraiture then did often involve conveying respectability. Although Durand might’ve added touches, his primary goal was likely to accurately represent the reverend for widespread circulation, to give him a visual presence among his congregation. Editor: Hmm. Knowing all this, makes you feel the weight of representation even stronger. Curator: It truly underscores the role art plays, not just in aesthetics, but in defining collective memory. Editor: Absolutely, seeing that is quite powerful... and perhaps changes the initial impression that stern look provides. Curator: Indeed, every line, every choice reflects something beyond the surface. It is exciting.