The Figure of Sarah, Bride of Tobias 1830 - 1882

Editor: Here we have Henri Lehmann’s "The Figure of Sarah, Bride of Tobias," created between 1830 and 1882. It appears to be a drawing using pencil. The figure’s pose, with outstretched arms, is quite striking. What's your take on this piece? Curator: I’m interested in the materials. It’s a pencil drawing, yes, but consider the labor involved in producing pencils in the 19th century. What kind of graphite was used? Where did the wood come from? This all reflects the social and economic context of Lehmann's time. The ready availability and affordability of pencils compared to painting suggests it's a preparatory study, shifting art creation to be less elitist as drawings were becoming more widely spread. Editor: That's a fascinating way to look at it! I hadn't considered the economics behind the art supplies. So, you see the choice of pencil itself as significant? Curator: Absolutely. And let's also note the figure's pose. Her gesture invites a tactile encounter, a grasping. What is she reaching for? What material object is her desire aimed at? We can interpret her gesture as part of a growing consumer culture of that period. Is she reaching towards marriage? The materials and societal changes have led to a change in her agency too. Editor: So it is not merely a representation but an active, and proactive relationship with making? Curator: Exactly! And note also that nude figuration had a market; so even while portraying an idealized subject, Lehmann had to respond to market demand. The "high art" of figuration was never purely intellectual, it had economic foundations that influence artistic choices, like creating sketches of possible versions. What have you learned? Editor: I've never thought about the art materials this deeply! It completely reframes how I perceive the artist's choices and the cultural impact. Thanks. Curator: My pleasure. Always consider the materiality that feeds artistic endeavor!