Three Figures in Procession, after Tintoretto 1896

Editor: This is Robert David Gauley’s “Three Figures in Procession, after Tintoretto,” at the Harvard Art Museums. It looks like oil on canvas, and the brushwork is really visible. What can you tell me about Gauley’s process here? Curator: Considering the title, it's crucial to understand this as a copy. Gauley engages with Tintoretto's labor, re-performing it, re-presenting a historical artistic process. How does this act of replication alter the original's meaning and value in a capitalist market? Editor: So, the value shifts from original creation to a commentary on creation itself? Curator: Precisely. Gauley’s work highlights the complex relationship between artistic labor, historical influence, and the commodification of art. By explicitly referencing Tintoretto, Gauley forces us to consider what is gained, and what is lost, in the act of reproduction and recontextualization. Editor: That’s a fascinating way to look at it; I hadn’t considered the layers of labor involved. Curator: Thinking about art in terms of its production and circulation opens up new avenues for interpretation and critique.