James Francis Edward Stuart, the Prince of Wales c. 18th century

Curator: Here we have Michel Dossier’s portrait of James Francis Edward Stuart, the Prince of Wales. It’s an engraving, a printmaking technique that allows for incredible detail. The sheet measures roughly 38 by 28 centimeters and it resides here at the Harvard Art Museums. Editor: It’s stunning. The contrast between light and shadow gives a real sense of depth, and the ornate details, like the laurel wreath and the heraldic symbols, speak to a potent visual language of power. What paper and ink were used to communicate such power? Curator: It was intended as propaganda, solidifying James’s image as the rightful heir to the British throne. Prints circulated widely, shaping public perception and bolstering his claim amidst political turmoil. Editor: So, the image itself becomes a tool, a mass-produced object intended to influence opinion. This challenges the romantic view of the artist as solitary genius, doesn't it? Curator: Indeed. It reflects the political realities inherent in artistic production. Well, looking at this print reminds us that art always exists within broader power structures. Editor: It’s a potent reminder of how images participate in shaping narratives and reinforcing social orders. The materiality of the work is inseparable from its political function.