Charity 1743 - 1744

Editor: This is Francesco de Mura’s “Charity,” painted around 1743-1744, and currently at the Art Institute of Chicago. It’s an oil painting, depicting a woman breastfeeding two babies, with other children nearby. It strikes me as classically posed, very balanced. What do you see in this piece? Curator: It's important to understand the labour involved in creating this allegory. De Mura, and indeed his workshop, would have needed access to pigments, canvas, and importantly, patronage to undertake such a commission. Consider the very concept of "charity" being rendered through a wealthy patron commissioning art. This makes the image, perhaps, not simply an affirmation of the virtue but a marker of socioeconomic standing. Editor: That's interesting. So, the material act of making the artwork itself becomes part of the message, almost overshadowing the intended meaning of "charity?" Curator: Precisely! The luxurious quality of the oil paint, the rich colors achieved through potentially costly pigments, all signal a level of consumption that speaks volumes. Look at the folds of fabric—skillfully rendered, but ultimately depicting superfluous luxury items. De Mura highlights an abundance that would be a sharp contrast with the poverty that necessitated 'charity'. How does the art object itself fit into the structures of its creation and reception? Editor: So, it’s not just about the generosity being depicted, but who is consuming, producing, and benefiting from this kind of representation of charity? Curator: Exactly. We should question how displays of such works perpetuate or even mask underlying inequalities, placing focus on performance rather than any resolution. We need to consider material conditions and access in assessing the painting’s intent. Editor: I never really considered that. Seeing it that way, it's not quite as straightforward as I initially thought! Thanks. Curator: Likewise, this approach highlights some essential questions!