Portret van Willem Bentinck van Rhoon (1704-1774) 1755 - 1756

Editor: So here we have Jean-Étienne Liotard’s "Portret van Willem Bentinck van Rhoon," painted around 1755-1756, using oil paint. What strikes me is how the red of his coat really dominates the painting; it feels almost like a status symbol, demanding attention. What do you see in it? Curator: For me, this piece isn't simply about aesthetic representation but the entire system of production and consumption that it embodies. That intense red isn't just pigment; it’s evidence of global trade networks bringing dye, potentially cochineal or madder, to Europe. The wig itself reflects elaborate processes and a whole market dependent on the creation of wigs, where does that market originate and who gets access to those materials? Editor: I hadn't really considered that! So, the coat tells a story beyond just wealth? Curator: Absolutely. Look closely at the buttons, the way the fabric is rendered. Each element involved craftspeople with specific skills, whose labor contributed to this overall image of aristocratic power. How might those craftspeople be situated socially? Were they paid fairly for their skills, were they indentured? Editor: That really shifts my understanding. I was focused on the man himself, but now I'm thinking about everyone who contributed to creating this image of him. Curator: Exactly! Consider also the canvas itself, and the preparation of the oil paint; all raw materials gathered from far away. It encourages us to challenge assumptions about art being purely the creation of an individual genius. Editor: It's amazing how much history is embedded in the materiality of the portrait itself. Now when I look at the art I wonder what these materials represent. Curator: Indeed! Recognizing the material context helps us think critically about power, labor, and consumption in the 18th century.