Lev Alexandrovich Naryshkin, Russian General 

Editor: Here we have what appears to be an oil painting of Lev Alexandrovich Naryshkin, a Russian General, attributed to George Dawe. It's striking how much detail there is in the rendering of the military garb. What stands out to you? Curator: I'm drawn to the production of this image. Consider the layers of materiality present: oil paint painstakingly applied to canvas, each choice revealing social context. The metallic gleam on the epaulettes, the precise embroidery replicated—these are not merely aesthetic choices, but indicators of labour. Who produced these ornate items? And how did their labor feed into this image of power? Editor: That's fascinating. I hadn't really considered the labor behind the uniform itself. How does the context of production change our understanding of the subject, Naryshkin? Curator: He's not simply a general in a vacuum. His image, carefully constructed through paint and luxurious textiles, perpetuates a hierarchy sustained by countless unseen hands. The value isn't just in Dawe's artistic skill, but in the materials used, each imbued with its own story of extraction, production, and exchange. Editor: So, by focusing on the materials, you're almost democratizing the portrait, giving voice to the otherwise silenced laborers who made it possible? Curator: Precisely. By questioning the means of production and distribution, we reveal the complex web of social relations embedded within what seems like a simple portrait. Does analyzing it this way alter your perspective? Editor: Definitely. I was so focused on Naryshkin himself, but now I see it’s really a picture of power and industry of the era. I'll definitely look at paintings with new eyes from now on. Curator: That’s what makes art history exciting, right? It's a continual unlayering.