Elizabeth Ford, later Lady Colville of Culross 1785

John Downman made this portrait of Elizabeth Ford on paper, using graphite and watercolor. What I find fascinating about it is the way the artist uses these relatively modest materials to conjure such a strong sense of character and social status. Graphite gives the initial structure of the image, the soft, grey material allowing Downman to lightly sketch Elizabeth's features, her elaborate hairstyle, and the classical column she leans against. He then builds on this foundation with watercolor. The pigment is translucent, layering delicate washes of color to describe the fabrics, the skin tones, and the atmospheric background. Neither graphite nor watercolor screams wealth, yet Downman combines them to create an image of elegance and refinement. The labor involved isn't overt, it's more subtle. It's in the artist's skill in capturing likeness and creating an illusion of depth and texture. By attending to these materials and processes, we can appreciate Downman's artistry, and also the way in which art can ennoble its subject, no matter the medium.