Courtship 1903

Editor: Edmund Blair Leighton's "Courtship," painted in 1903 using oil on canvas, offers us a peek into a domestic scene. The detail is incredible. The harpsichord almost feels touchable, and the lady’s dress… exquisite! What stands out to me most is how contained and intimate the whole image feels. What catches your eye? Curator: Immediately, I'm drawn to the meticulous representation of materials. Look at the harpsichord: the craftsmanship, the imported woods, the very fact that such an object existed in that domestic space speaks volumes about access to resources. Then consider the woman’s dress: its fabric, lace trimmings. These elements, and their consumption, illustrate the specific socio-economic realities of the upper class at the turn of the century. Editor: That's interesting; I was so caught up in the romantic atmosphere, I didn't consider that. How does the act of painting itself play into this? Curator: Leighton chose oil paints, a medium associated with tradition and academic training, further reinforcing his status and appealing to a specific clientele. The production of oil paints themselves relied on an infrastructure of trade and industrial processes. We can even ask: where were these materials sourced? What kind of labor went into their creation? Editor: So, rather than just seeing a pretty picture, we’re looking at a snapshot of Victorian society's production and consumption habits? Curator: Precisely. And even the "genre painting" label is a reflection of the art market, how such scenes of domestic life were both created and commodified for a particular audience. Leighton created objects for consumption that in turn, depicted consumer habits. Editor: That completely shifts my understanding of the piece. I thought it was just about romance, but it is so much about late-Victorian material culture! Curator: Indeed! Now you're looking at not just art, but its production!