Minister of State Freiherr von Schleinitz 1865

Editor: Here we have Adolph Menzel’s 1865 piece, "Minister of State Freiherr von Schleinitz", rendered with watercolor, pencil and oil. The way he’s captured the textures of the Minister's face and clothing with such varying media is quite striking. What do you see in this work? Curator: Well, first, let's consider the context. Menzel, though working in a period increasingly defined by industrial advancements, retains a visible trace of hand craftsmanship. The visible pencil strokes and blending of oil and watercolor – this speaks to the very act of making. The materiality is crucial here. Think about the labor involved, especially considering Schleinitz’s high status and the implications of depicting such a figure with visible artistic labor. How do you think that affects the image? Editor: It makes me think about the contrast between the Minister's position of power and the artist’s process. You can really see the marks of the artist’s hand, and the various media emphasize different aspects – the oil adds richness and depth while the pencil gives such precise details. Curator: Precisely. Menzel isn't just presenting an image; he is showing us how it's constructed. We can practically feel the textures being created. This focus on material process invites questions about art’s own power structures. Who commissions art? What materials are deemed worthy? Is watercolor "lesser" than oil? Editor: It challenges that rigid hierarchy, doesn't it? Curator: Exactly. Menzel’s conscious choice of media and visible construction suggests that even portraiture can reveal deeper questions about labor, status, and the value we assign to different forms of artistic production. Editor: I hadn't thought about it in terms of labor before, or about questioning materials themselves. That's fascinating! Thanks for expanding my view. Curator: My pleasure. Hopefully, it’s given you a new lens for observing material in art, both what’s represented and what’s being used.