Caesar Throws Himself into the Sea from The Story of Caesar and Cleopatra c. 1680

Editor: This tapestry, titled "Caesar Throws Himself into the Sea from The Story of Caesar and Cleopatra," was made around 1680 by Guilliam van Leefdael. It’s currently at the Art Institute of Chicago. The materials—wool and other textiles—give it such a rich, tactile quality. What particularly strikes me is the incredible detail despite it being a woven piece. How do you approach interpreting a work like this, Professor? Curator: As a materialist, I immediately think about production. This tapestry isn't just a decorative object; it’s a product of significant labor. The wool would have been sourced, spun, dyed, and then meticulously woven, likely by skilled artisans within a workshop setting. It’s vital to consider the social context of this production - who were these weavers, and what was their relationship to the commissioners of such a luxurious piece? The use of costly materials points towards wealth and patronage. Editor: That makes sense. I hadn’t thought about the conditions of its creation. The narrative takes center stage but considering labor expands the picture. Does the mixed-media aspect alter its artistic merit? Curator: The "mixed-media" nature of tapestry is central! For centuries, it has negotiated a space between "high art" and craft. Challenging this dichotomy is crucial to Materialist art history. Rather than seeking artistic "genius," we consider the interwoven strands of design, material, labor, and patronage that gave rise to the final object. Did you notice the fruits and flora at the top of the weave? Editor: Yes, how might the fruits, the flowers, the figures work together? Curator: Perhaps those choices in motif and framing devices tell us more about the function this object had in early modern European court, and thus opens up ways of understanding how art can communicate its values and worldviews in terms of everyday material consumption and presentation. Editor: I see! By examining the materials and production, we move beyond just the image and into a wider social and economic landscape. Thank you. Curator: Indeed! This approach encourages a more holistic understanding of art's place in society.