Mrs Margaret Ainslie 1764

George Romney painted Mrs. Margaret Ainslie in oil on canvas, and what strikes me is the dynamic between surface illusion and the labor of its making. Paint is such a versatile material. Here, Romney skillfully uses it to mimic the textures of fabric – the sheen of silk, the soft drape of a shawl trimmed with delicate lace. Think about all that material craft involved, not only for Romney but for all the artisans that fabricated her clothes: growing flax or raising silkworms, spinning thread, weaving cloth, tailoring the dress, and knotting the lace. This elaborate work is all referenced in Romney's swift brushstrokes. The status of the sitter depends on these operations; without them, she would be utterly naked. Yet, the artist also wants us to appreciate his virtuosity, a different kind of labor. Considering the social context, the painting becomes a fascinating document of its time, revealing the intricate connections between art, craft, labor, and the display of wealth.