Abraham Lincoln 1898

Editor: This is Charles Calverley's bronze sculpture of Abraham Lincoln, made in 1898. It's such a classic image. It feels like a coin or a medallion, something made for mass production. What do you make of it? Curator: I see a carefully crafted object designed to disseminate a specific image of power. Consider the material: bronze, traditionally associated with monuments and commemoration. The act of casting, the labor involved, speaks to the intention of enshrining Lincoln. What effect does the chosen profile view have, given the constraints of this object format? Editor: Well, it flattens the subject, which I suppose makes it ideal for reproducing it in multiples, and the profile, almost like on a Roman coin, does have a distancing effect. Curator: Precisely. It also brings forth the question of labor: who was involved in the making of this object? Were they celebrated artisans or anonymous workers toiling in a foundry? Knowing this reveals the socio-economic factors at play. Think also about who the intended audience might have been, and the means by which this object circulated: its avenues for consumption. Editor: So, you're suggesting this sculpture, as an object, is embedded in social and economic relationships, rather than existing as a standalone piece of fine art? Curator: Absolutely. Every element, from the material itself to the means of its production and distribution, reflects the values and power dynamics of its time. Look closer at the texture; how does the finishing on the surface affect its aura as something 'precious' or commonplace? Editor: I hadn't thought about it like that before. So by understanding its materiality, production, and circulation, we can understand the artwork’s historical context more comprehensively? Curator: Exactly! We are now not merely observing a portrait but uncovering layers of historical meaning that shape the bronze likeness. Editor: This approach provides such a fresh lens on familiar artwork. Thank you.