Portrait of Sir Thomas Frankland, 6th Bt. 1750 - 1831

Editor: Here we have George Romney’s "Portrait of Sir Thomas Frankland, 6th Bt.," sometime between 1750 and 1831, created using oil paint. There's something almost melancholy about the portrait, maybe it’s the averted gaze or the shadows... What stands out to you? Curator: Melancholy, yes, perhaps tinged with the inevitable seriousness that comes with inheriting a title! But beyond the sitter’s possible disposition, I'm drawn to the light, isn’t it? The way it sculpts the face, particularly along the jawline, speaks volumes about the artist's skill and his eye. He presents Frankland thoughtfully. I am immediately reminded of an old story... Would you agree that, at that time, he may be considering an important decision? Editor: Absolutely, the angle makes it seem almost theatrical. It reminds me a bit of stage lighting in that regard. But to get back to your story, do you think that his thoughts are not fully reflected on his face? Curator: Maybe! My grandmother always said portraits capture a hidden truth, but who am I to believe her, even though she's wiser than Zeus! And speaking of old stories, it’s said Romney was incredibly swift, dashing in and creating portraits with what seemed like almost no effort, always trying to flee, never wanting to fully grasp the moment. Almost like trying to run away from something, don't you think? Does the idea of capturing a moment for eternity make you question your reality? Editor: I can see what you mean. Almost as if he’s painting time itself… like trying to preserve a fleeting memory. You’ve certainly given me a fresh perspective on Romney’s portraits. It is not only a face, but someone trying to get away with their thoughts and moment. Curator: That’s exactly what the arts should do - it transforms, shifts perspective! My perspective has also been shifted after our exchange.