El sacamuelas 1844

Curator: Today we’re observing Leonardo Alenza’s genre painting, "El sacamuelas", created in 1844, currently held at the Museo del Prado. What strikes you first? Editor: The textures, undoubtedly. The grit and griminess conveyed through the oil paint really amplify the sense of back-alley dentistry. You can practically feel the roughspun fabrics and the…uncleanliness. Curator: Yes, it’s an unglamorous scene, typical of Alenza’s social realism. He highlights the crude medical practices available to the common people. Editor: Exactly. And the way the light falls on the metal tools…it speaks to a focus on the instruments of this painful trade. Notice, too, how many figures are involved. Someone is always facilitating production, from extraction to transport. Curator: Indeed. This vividly portrays a moment in 19th century Spain where medical care was intertwined with theatricality and spectacle. The 'tooth-puller' was a public performer of sorts, demonstrating a needed, albeit terrifying service. Editor: It reminds us that what we now consider sterile medical practice wasn't always so. The painting is quite upfront in its depiction of a rough and raw, handmade transaction, reflecting the immediate conditions of labor. Curator: Alenza presents more than mere depiction of social reality. By including figures that witness the procedure, Alenza seems to suggest an audience and critique to their presence. Editor: Certainly a scene ripe with tension. But looking closely reveals the means of extraction are also means of livelihood. We can explore how access to such services intersects with labor, class, and broader consumption cycles in Alenza's Madrid. Curator: Your reading certainly emphasizes the material circumstances depicted. I’m drawn to how this artful painting documents not only dental practices, but also the very palpable socio-political dynamics of the era. Editor: I appreciate you drawing out its historical relevance. Looking closer, that informs so much, giving new weight to Alenza’s portrayal.