Portrait of Izabela (Elżbieta) Potocka Née Lubomirska as Polyhymnia 1779

Editor: So, this is Pompeo Batoni's "Portrait of Izabela (Elżbieta) Potocka Néé Lubomirska as Polyhymnia" from 1779. I'm immediately struck by the way she’s presented – both elegant and seemingly powerful with musical knowledge. What is your take on this Rococo portrayal? Curator: This portrait presents us with a compelling intersection of identity and societal expectation in the late 18th century. Beyond the aesthetic qualities typical of Rococo portraiture, we should consider how women were carefully positioned within a specific social and intellectual framework. What does it mean to depict a woman, especially an aristocratic woman like Izabela Potocka, as a muse? What power dynamics are in play here? Editor: I see what you mean! So, it's more than just flattery. Could you elaborate more about these power dynamics? Curator: Absolutely. The classical allusion to Polyhymnia, the muse of sacred poetry, is not just a sign of Izabela’s refinement. It hints at the expectations placed on women of her status to be both intellectually stimulating and morally upright, yet within the carefully policed confines of their class. The painting can then be seen as evidence of a controlled expression of female intellect within a patriarchal society. Do you see how her role is defined and somewhat constrained? Editor: I do! It's almost like she's performing intellectuality. But also, perhaps, pushing back by engaging with music itself. Curator: Precisely. The act of holding sheet music becomes a form of self-definition, but one that's filtered through a lens of class, gender, and societal expectations. This Rococo painting, therefore, gives us an insight into the ways women navigated power in the 18th century. Editor: I will certainly think about portraits differently now. Thank you. Curator: It has been my pleasure, thank you for your perspicacity!