Colonel William Fitch and His Sisters Sarah and Ann Fitch 1800 - 1801

Editor: Here we have John Singleton Copley's "Colonel William Fitch and His Sisters Sarah and Ann Fitch," painted around 1800. It's done in oil, and what strikes me immediately is this fascinating blend of formality and, dare I say, a certain awkwardness in their poses. It feels staged, yet there's a vulnerability peeking through. What's your take on this, how do you interpret this work? Curator: Awkwardness, vulnerability... I love where you're going. Copley was, let’s just say, having a moment. He was juggling old-world expectations with the winds of Romanticism nipping at his heels. And he also bit off more than he could chew! A group portrait like this demanded he be a social sculptor, arranging bodies in a way that broadcasts both status and familial bonds, while suggesting individual personalities. Do you sense a hierarchy amongst them? Editor: Definitely. The Colonel, resplendent in his military attire, dominates the composition with his stature and striking red coat, overshadowing his sisters. There’s also this tension between their gaze, a sense of disconnect between them that isn't entirely clear, it has a dreamlike quality to it almost. Curator: Precisely! It's almost like Copley wanted to evoke this aristocratic composure but was aware of their impending cultural obsolescence as neoclassicism declined in favor of the Romantic ideal of liberty and equality. Think about it: the horse symbolizes freedom, action and the wild, completely removed from this rigid familial expectation. Does the horse help reframe your perception of this family? Editor: Absolutely! The horse definitely adds a layer of rebellious spirit to the portrait that feels very exciting. It adds to the feeling that maybe everything isn't perfect within this aristocratic family. Curator: Indeed. Copley gives us this fascinating snapshot of a society on the cusp, using visual language to express the unnamable shifts underway. I would even add that he is painting a narrative, not just a painting! Editor: That’s given me so much to think about, that feeling of 'almost, but not quite.' This piece really invites a deeper reading than I initially expected. Curator: Agreed. It’s the subtle unease that elevates it.