Charles Howard, 11th Duke of Norfolk 

Curator: This is a portrait of Charles Howard, the 11th Duke of Norfolk, painted by Thomas Gainsborough. Editor: My immediate impression is one of opulence subdued by an almost melancholic darkness. It’s difficult to discern the materials of the clothing—velvet, perhaps? A heavy fabric nonetheless. Curator: Absolutely, Gainsborough was a master of capturing social standing through portraiture. Norfolk was a significant political figure, known for his support of the Whig party and his somewhat eccentric lifestyle. The setting is important; the column and drapery allude to classical grandeur and power, even if a bit theatrically staged. Editor: I find the draping fabrics and column compelling. Notice how Gainsborough captures light as it cascades, yet much remains veiled. Was the density of the paint significant, given how painters would sometimes mix paint and fabric pigment? Curator: Certainly, materiality plays a crucial role here. Gainsborough often experimented with different techniques to achieve specific effects. I suspect he wanted to convey a sense of texture and richness, perhaps using glazes to create depth. Consider, too, how such lavish materials spoke to Norfolk's inherited privilege. A kind of declaration of the Norfolk lineage and influence. Editor: The almost hurried strokes, particularly in rendering his coat and the backdrop, create an air of informal extravagance—if such a thing exists! You get a real sense of the labour and production required to portray that level of elite presence, a paradox. Curator: Yes, and that seeming contradiction reflects Norfolk's own complex character. He held a powerful position, yet also courted controversy with his radical political views and his, shall we say, unconventional behaviour. His status provided him with the cushion to hold unusual social and political perspectives. Editor: This painting gives the viewer an intimate glimpse into elite society but still invites speculation. There’s the presentation and then what it deliberately leaves out. Curator: It is indeed, and Gainsborough skillfully balances the demands of portraying status with hinting at the sitter’s inner world. This tension is what makes the portrait so captivating, an individual entangled within the grand theatre of politics and inheritance. Editor: I leave thinking about the performative labor involved in constructing such images of power, as much a creation of materials as an expression of individual identity.