Portret van Elizabeth Montagu 1756

Editor: Here we have a print from 1756, a portrait of Elizabeth Montagu by James McArdell, described as an engraving. I'm struck by the formality and stillness, almost as if she’s presented as a commodity. How do you see this work? Curator: This engraving, while seemingly a simple portrait, is rich with information about 18th-century society and its means of production. Think about the labour involved: the artist, the engraver reproducing Reynolds' original painting. This piece is, in effect, a product manufactured and disseminated for consumption, almost like celebrity merchandise. Consider how the layers of labor—from painting to engraving to printing—affect our perception of Lady Elizabeth. Editor: So, it's less about her individuality and more about the process of making and distributing her image? Is the material of the engraving part of its meaning? Curator: Absolutely. The engraving medium itself implies replication and broader accessibility. This was not a unique oil painting only viewable by a select few. Instead, it became a commodity for a burgeoning middle class. Editor: It's fascinating to think of it in those terms. Curator: How might the materials involved in its production -- paper, ink, and the tools used by the engraver - have impacted both the aesthetic and the availability of this image? Editor: I guess, making it an interesting social document, not just a pretty picture. Curator: Precisely. The materials, labor, and intended market are inextricably linked. These choices offer important clues about its intended function within society. We understand it differently now. Editor: This makes me look at it in a whole new light. Curator: I agree. The lens of materiality reveals the profound connections between artistic production, social structure, and economic forces.