Portrait de Madame Roger Jourdain by Paul-Albert Besnard

Portrait de Madame Roger Jourdain 1885

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painting, oil-paint

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portrait

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gouache

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painting

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impressionism

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oil-paint

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figuration

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oil painting

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genre-painting

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watercolor

Copyright: Public domain

Editor: So, here we have Paul-Albert Besnard's "Portrait de Madame Roger Jourdain," painted in 1885, in oil. I am immediately drawn to the gown, its shimmering effect; what’s going on with its materiality here? What do you see in this piece? Curator: Focusing on the material realities, observe the artist's treatment of the fabric. Consider not only the surface appearance of the dress - its shimmers and folds rendered through the application of oil paint - but the conditions of its creation. What was the social status of someone wearing such a gown? What labor went into producing this material opulence, from the raw materials to the finished product? Editor: It makes me think about class; she seems part of an elite, considering her dress. But is there anything more specific about the technique itself that underscores this wealth? Curator: Absolutely. Think about the availability of these high-quality pigments to Besnard. Consider too the system of patronage which allows an artist the leisure to create a work such as this. Isn't the painting itself a commodity circulating within a market sustained by this wealthy class? The visible brushstrokes, part of Impressionist technique, further emphasizes labor – the artist's labor. How does the Impressionistic style reflect and potentially critique, the social structures it depends on? Editor: It's interesting how you frame Impressionism not just as a style, but tied into the means of art production itself! Looking at how it required funding from patrons like Madame Jourdain, in this instance. Curator: Precisely. The art itself is bound to the networks of production, labor, and social standing. What’s most impressive is how the labor to create this impression of fleeting beauty reinforces power. What did this remind you of the most? Editor: Now, it's clear to me that examining how material conditions and production systems shaped not just the subject, but also how the work was created itself makes Impressionism a really material art form! Thank you.

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