Skin Concepts in Eighteenth Century Literature

The process of creating an image by cutting into a surface, typically metal or wood, to produce raised lines that are then inked and printed.

The act of composing, writing, or creating something, often with careful thought and effort.

A formal and restrained way of holding oneself, suggesting dignity and composure.

The curved line that defines the shape of a piece of furniture, following the contours of the body.

The act of looking at something, especially with a concentrated and attentive gaze.

A person who is enslaved or forced to work without pay.

An inscription or writing placed on a page or other surface, often as an introduction or explanation.

The act of carefully examining and assessing the technical aspects of a work of art, particularly focusing on the methods and materials employed.

The layer of skin that is on the surface of the body, sometimes called the 'scarf-skin'.

The use of cosmetics to enhance or change one's appearance, often associated with societal expectations and anxieties about physical appearance.

The anxiety and concern surrounding the physical coverings and appearances of the body, especially in relation to societal norms and expectations.

The blending or merging of distinct concepts or ideas into a single, often ambiguous understanding. In this context, the conflation of cosmetics with skin reveals the anxiety of corporeal coverings.

The act of criticizing or lamenting something; expressing disapproval or regret. For example, 'Mr. Town' rues the use of heavy cosmetics.

In the 17th century, scientists viewed skin as a passive barrier, similar to a fisherman's net. This concept highlighted its porous nature but lacked a deeper understanding of its active role.

Écorché figures, depicting flayed human bodies, reinforced the view of skin as a simple covering, emphasizing its two-dimensional nature.

Empiricists in the 18th century shifted the focus on skin from a simple covering to a complex interface, analyzing its structure and function at a microscopic level.

The shift from a passive to an active view of skin involved focusing on its properties and interactions at a much smaller scale, revealing its complexity and significance.

Empiricism, a scientific approach focused on observation and experimentation, paved the way for a deeper understanding of skin's role as a material interface.

The transition from a two-dimensional concept of skin to a multi-faceted understanding involved observing and studying the complex interactions between skin and other substances at the molecular level.

Chemistry played a vital role in illuminating the intricate chemistry of skin, revealing its dynamic nature and its role in regulating the body's internal environment.

The modern understanding of skin as a material interface encompasses its complex structure, active functions, and interactions with the environment, reflecting an evolution of scientific thought.

The idea that beauty lies in the subtle, almost imperceptible variations of skin texture, like the "insensible swell" and constant change described by Edmund Burke.

Edmund Burke's 1757 work, "Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful", discusses the nature of beauty and explores how the subtle changes in skin contribute to its appeal.

The appreciation of beauty, particularly in skin, hinges on the fact that its micro-textures are almost invisible to the naked eye, creating a sense of mystery and intrigue.

The idea that natural limits, like those found in the variations of skin, are desirable and contribute to beauty.

The concept that beauty is not solely based on outward appearance but also on the subtle, almost imperceptible variations that create a fascinating and alluring experience for the observer.

The belief that finding pleasure in the beauty of the human body, particularly the skin, is a result of our imperfect perception and limited senses.

A technique for creating prints by using a series of lines etched into a metal plate.

A technique for creating prints by using a roughened metal plate to create a wide range of tones and subtle details.

The quality of being visually interesting and appealing, often characterized by a mixture of rough and smooth textures and elements.

The examination of how the physical surface of the body, particularly the skin, is represented and understood in art and culture.

A type of engraving that uses dots instead of lines to create tonal values and textures, often used for portraits in the 18th century.

The frontispieces of Wheatley's contemporaries, such as Sancho and Equiano, used stipple engraving, which rendered their skin with a texture suggesting porosity and variability. This technical similarity to portraits of white authors implied a difference of degree, rather than kind, between Black and white bodies.

In engravings of Black authors Sancho and Equiano, engravers applied a linear pattern to their coats, which was common in stipple and mezzotint engravings of the period. This served to darken their garments and create a harmonious visual correspondence between woven textiles and the linear syntax of engraving. In contrast, their faces were rendered simply in stipple, representing their exposure and openness to the viewer.

Wheatley's portrait, unlike those of Sancho and Equiano, sticks to a regular pattern in the engraving of her face without much modeling or indication of light and shadow. This creates a distinct barrier between the poet's thoughts and their outward expression, mirroring the profile view that refuses a familiar connection between the subject and viewer.

The engraving of Wheatley's portrait has often been characterized as technically naive or poorly executed. However, such criticism can be attributed to viewers' discomfort with the politics of the image rather than actual technical shortcomings, as the engraver demonstrates skill in other parts of the image, such as the representation of the sheen on Wheatley's sleeve.

Wheatley 's portrait, through its technical choices, highlights the complexities of racial representation in art, revealing the significance of artistic technique in constructing and communicating social and political meanings. By examining the choices made by the engraver, we can understand how art reflects and shapes societal views and values.