Mrs. Francis Russell 1785 - 1787

Editor: Here we have George Romney’s portrait of *Mrs. Francis Russell*, painted between 1785 and 1787, done in oil paint. The creamy whites and blues are quite striking and really establish this mood of refined gentility. How would you interpret the piece? Curator: Considering the period, what strikes me is the performance of femininity it presents. Romney was painting during a time of massive social upheaval and, of course, increasing public roles for women, even if those roles were constrained. What’s intriguing is the way Mrs. Russell is staged, not simply *as* beautiful but actively performing the visual cues associated with beauty and status at that time. Editor: Performing, how so? Curator: Note the large hat, the fashionable dress with the delicate blue sash, the wilting rose. All carefully constructed visual statements. They project an image of leisure and refinement, qualities highly valued, especially in contrast to the era's anxiety over female influence and potential social disruption. The political power inherent in constructing an image is easy to overlook, isn’t it? Who gets to define “beauty,” and to what ends? Editor: So it's not just about a pretty portrait but also about societal roles and even political messaging. It’s making me consider the dynamics behind portraiture in general, particularly when commissioned by the sitter’s family! Curator: Exactly! And understanding that historical context helps us to unpack the choices Romney made in how he chose to depict Mrs. Russell and what she wanted to convey to the world. Editor: I hadn't really considered the agency involved in image creation from the sitter's perspective before. I'll definitely think about portraits differently now!