[John Henry Mole] 1860s

Curator: What strikes me immediately about this 1860s portrait is its palpable gravitas; that slightly sorrowful air around the eyes and mouth suggests much about Victorian stoicism and ideals of masculinity. Editor: You’ve sensed something key about this artwork. This is a photographic portrait of John Henry Mole by John and Charles Watkins, currently held at The Met. Knowing this image’s socio-political background provides greater context. Curator: Indeed. Consider the period in which it was made. The technology of photography itself was still relatively new and inherently radical. The subject is facing a brave new world, much like the rising middle class, who, through this medium, were empowered to project images of themselves onto society's grand stage. Editor: The image's subdued color palette and somewhat severe composition also speaks volumes. This, I would argue, mirrors the somber, self-restrained sensibility which resonated amongst rising classes in London in the mid-19th century. Curator: That's insightful, and it certainly influences reception of this photograph within an institutional setting. The almost obsessive capturing of every beard hair also creates a very particular intimacy. Think about how the sitters from previous centuries - generally of aristocratic background - might feel compared to this bourgeois sitter whose image is reproduced for consumption by wider audiences. The portrait creates not just representation but access. Editor: Access and a clear agenda. Let's not forget the active role the photographer takes, consciously crafting images within prevailing cultural currents, thus influencing public perceptions about success, class, and identity. Curator: Right. Even this man’s very deliberate look creates a persona, and as consumers we begin to form preconceived judgements based solely on this representation, reinforcing some ideologies whilst suppressing others. In turn, we must critique it, using theory to help decode those power structures. Editor: Agreed. Viewing this photograph, therefore, provides an invaluable opportunity to consider portraiture's impact, alongside the societal conditions in which it emerged, influencing its course and reception, even today. Curator: Precisely. We must continue these dialogues. Editor: Here's to continuous and evolving social re-contextualization of these invaluable glimpses from the past!