Allegory of Virtue and Vice 1505

Curator: Lotto’s "Allegory of Virtue and Vice," created around 1505 using oil paint, presents a fascinating dichotomy. The composition, at first glance, feels very theatrical. Editor: It does. And the contrast between the vibrant left side of the artwork with the darker, slumped figure on the right is pretty stark. How would you approach interpreting this, with its clear division and seemingly symbolic elements? Curator: I am compelled to explore this division through the lens of its production. Notice the textures, the way Lotto builds up the paint surface. What materials were available to him? Where did those pigments come from? Understanding that economic and material reality reveals much about the culture framing this work. Consider the lapis lazuli used for the ultramarine—a precious commodity indicating wealth and status in the application to the family shield on the tree trunk, versus the earthier tones on the opposite side of the picture, suggestive of different modes of living and varying classes and social statuses. Editor: That’s interesting; I hadn’t thought about it in terms of the cost of materials informing the visual contrasts. Curator: Indeed. The labor involved in grinding pigments, preparing the canvas, even the commission itself, reflect a system where artistic skill was a commodity. Are these simple choices of "virtue" versus "vice," or rather representations of how different material conditions shape human experience? Editor: So, rather than a straightforward moral tale, you see the painting engaging with the socio-economic realities of Lotto’s time, through the deliberate crafting of contrasting material experiences? Curator: Precisely. The "virtue" might be born from access to certain resources, while "vice" reflects material lack. The landscape itself isn't just a backdrop but part of a system of production and consumption. Editor: That reframes the way I look at it completely! I was so focused on the symbolism, but the materials themselves are doing the real talking. Curator: It’s in this conversation between the symbol and the means of making where Lotto's commentary resides. Hopefully it sheds light on why these gorgeous colours and material deployments carry so much weight for us to consider. Editor: Absolutely! Seeing it as a product of its time, shaped by the availability and cost of materials, makes the painting so much more engaging. Thanks for sharing your insights!