Mrs. Benjamin Simons 1768 - 1776

Editor: Here we have Henry Benbridge's portrait of "Mrs. Benjamin Simons," painted sometime between 1768 and 1776. There's a stillness to her gaze and the muted palette makes it feel quite formal, almost severe. What do you make of it? Curator: Well, I see more than just severity. Consider the social context: this portrait emerged during a time of growing colonial assertion. The choice to depict Mrs. Simons with such understated elegance, rather than extravagant display, subtly reflects a move away from ostentatious European norms towards a more grounded, American identity. Editor: So, the relative lack of adornment is a political statement of sorts? Curator: Potentially. And the location matters – hanging here at the Met. Who decides what deserves preservation, what version of history gets remembered? Whose stories are told in these hallowed halls, and perhaps more importantly, whose are left out? Editor: That makes me think about Mrs. Simons herself. I wonder about her story, her perspective. Is she complicit in these societal structures, or a victim of them? Curator: Precisely! Think about it this way: Portraiture served as a means of social climbing and memorializing status. So who commissioned this portrait, and why? And what does it mean for us, generations later, to engage with her image in this way? It’s more than just aesthetics; it’s a reflection of power, privilege, and the choices made by those who came before us. Editor: I hadn't considered that before. It's interesting how the painting, while seemingly straightforward, opens up so many questions about the society and institutions surrounding it. Curator: Absolutely, it forces us to look beyond the surface and interrogate the historical and cultural narratives embedded within it. Editor: Thank you, I'll definitely look at these types of portraits differently going forward.