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About the Cover: An 18th Century Conversation Piece
eriod Portraits of London, England recently offered this fine, rare, intention of this painting is to celebrate the contributions of both the
and highly detailed group portrait titled The Music Room on living and the dead. The curious detail of a casually deposited blue
P1stdibs.com, selling the painting at an estimated price of $31,000. ribboned hat hanging from the light fixtures, presumably belonging to the
This painting depicts a handsome, yet beguilingly staged, domestic mother, shows her presence is still recognized and appreciated in this scene.
interior of a prosperous family around the year 1785. Following is the Music-making is a particularly important theme in this painting.
description as given by the Period Portraits gallery: The two eldest children, son and daughter, play a violin and keyboard.
This painting is typical of the so- respectively. By way of contrast, the three
called “conversation piece,” a genre of other younger sons, all sporting similar
painting that featured groups of figures in wide-open collars made popular during
a small format that rose to prominence in the 1780s, are involved in their own
British Art during the 18th century. childish merry making. The youngest, in
Taking many cues from Dutch and his father’s lap, seems to be depicted with
French paintings, the conversation piece a small sketchbook offering scraps, some
became a particular favorite amongst of which have been humorously discarded
British painters such as William Hogarth on the floor. The other two boys are
and was later refined by Johan Zoffany depicted at play, one with his cup and ball
who produced several such works in this game and the other with a string game.
genre for the family of King George III. These indoor amusements are con-
Such works, as scholars such as Kate trasted with the more mature and refined
Retford argued, related most strongly to pursuits of music played by their older
concepts of “conduct” and “community,” siblings. The work of scholar Richard
often focusing on one’s behavior and the Leppert, who has made significant contri-
company one kept. butions on the subject of music in 18th
In this case, we are presented with an century domestic paintings, identified
entire family, consisting of a father with several particular themes. Music-making,
his four sons and one daughter. All of the minute details relating to this apart from its obvious associations with harmony, helped support the
interior are treated with care, including the finely piled carpets, gilded notion of the “home as the self-perceived foundation for the values upon
mirror sconces, rococo fireplace, and costume. Although it is possible that which bourgeois society depended.” Qualities of education, perseverance,
this scene depicted a true interior, it is clear that the picture’s purpose is and dedication—all requirements of learning to play such instruments—
to promote several ideas relating to the virtues of the painting’s sitters. is what is being emphasized in this very scene. The omission of a caged
Most touchingly is an image of the deceased mother of these children, bird near to the young keyboard player, which Leppert remarked as almost
seen hanging in an oval above the fireplace on the back wall. In an age always accompanying female musicians in such paintings as a device
where childbirth presented a great risk to the health of women, the recognizing the plight of such talented souls, is also noteworthy.

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