George III of the United Kingdom 1779

Curator: Oh, my. Just looking at the rendering of that regal robe—so painterly, but the sheen and weight are palpable. Editor: Indeed. This is Benjamin West’s portrait of “George III of the United Kingdom,” completed in 1779 using oil paints. West, an Anglo-American artist, portrays the King in a somewhat active setting rather than the more common static poses. Curator: That crimson jacket. The tailoring, the braiding, all those buttons! You can practically feel the expense of it, the labour that went into it. The visual message is very deliberate. How do the surrounding symbolic objects factor into that narrative of craftsmanship and visual prestige? Editor: Well, consider the setting: the backdrop alludes to his role as Commander-in-Chief, but also recall the weight those symbols carried at this time. The placement of the crown on the table suggests a readiness for action, almost a casual confidence in royal power despite looming military challenges abroad. It's an interesting duality that asks, how solid is the foundation upon which all this rests? Curator: The textiles become a character in themselves. Look at the rendering of velvet! This opulent materiality isn't just about luxury; it reflects the booming textile industries in England at the time and the king's role in patronizing those sectors. I wonder about the actual materials themselves. Were these garments woven in England, supporting local weavers and artisans? Or were raw materials sourced through colonial trade? It speaks volumes about economics and material production. Editor: The iconography, with its conscious visual choices, amplifies the narrative, as well as speaks of political strength. The billowing fabric might represent the uncertainty and unrest during the war; there is an ever present symbol of monarchy itself; then the paper King George III holds speaks to how war will be mediated in the form of law. It is a portrait caught between propaganda and complex representation, almost as though we have to ask, who exactly is Benjamin West trying to say that this man is. Curator: Food for thought, indeed. Editor: Indeed.