La Madeleine 

Editor: This is "La Madeleine," a pencil drawing by Théophile Alexandre Steinlen. I get a sense of intimacy from it, even though it's a relatively simple sketch. What strikes you about the artwork? Curator: As a materialist, I immediately focus on the pencil itself. What kind was it? The varying pressures applied indicate a clear understanding of the material. Looking at the subject matter – the representation of a penitent Magdalene – do you think the choice of such a humble material, pencil, challenges the traditionally lavish materials often associated with religious art? Editor: That’s an interesting point, I hadn’t considered the humble quality of the medium against the subject. It does seem to democratize the image, making it feel less precious and more accessible. Curator: Exactly. And think about Steinlen's historical context – late 19th century France, a time of rapid industrialization. Was this an attempt to bring sacred imagery into the everyday, using a tool – the pencil – becoming increasingly common through mass production? What kind of labor do you imagine went into the making? Editor: I see what you mean! It suggests a conscious effort to engage with the social realities of his time, reframing a religious narrative within a modern, industrialized world, showing even how artistic process may change. Curator: Precisely. We also have to consider the act of drawing itself, the hand moving across the paper. Was this meant to be a finished work, or a preparatory sketch? The 'unfinished' quality invites us to consider artistic labor and intent, offering a peek into Steinlen’s working process. Editor: That makes the piece much more engaging; the thought of production shapes my viewing of this art. Thanks for your insights. Curator: My pleasure. Materiality shapes meaning. This piece really shows us that.