Jester, costume sketch for Henry Irving’s Planned Production of King Richard II 

Editor: This is a costume sketch in watercolor by Edwin Austin Abbey. It’s called "Jester, costume sketch for Henry Irving’s Planned Production of King Richard II". The jester’s vibrant colors and playful design give off a lighthearted, almost mischievous vibe, despite the association with a potentially serious Shakespearean play. What stands out to you about it? Curator: The most interesting aspect is how this sketch sits within the late 19th-century fascination with theatrical productions, and specifically, historical accuracy in costume design. Abbey wasn’t just imagining things; he was trying to recreate a believable jester for a specific, intended performance. This intersects with the growing professionalization of theatre, and how important things like costumes became to lending a production legitimacy, even a sense of scholarly value. Notice all the hand-written notes? Editor: Yes, the notes make it look very technical! Like a real blueprint, maybe even a bit…anxious? About getting all the details correct. Curator: Precisely. Consider also the public role of the theatre at this time. These large productions, particularly those adapting Shakespeare, played a key role in shaping national identity and historical understanding. The image of the jester becomes, not just a character, but a symbol meant to evoke a specific time and place in the viewer’s mind. What do you think was so compelling in that historical setting that would have theatre flocking to Shakespeare and historicized costumes? Editor: Perhaps there was a longing for a perceived "golden age"? A romantic vision of the past. That resonates even today. Thinking about the political and social implications adds so much depth to what initially seemed like a whimsical sketch. Thank you! Curator: Absolutely! Considering the performative and the theatrical through art lets us expand our conceptions of politics and social structure, and how image-making supported its growth.