Mavourneen 1876

Curator: James Tissot's "Mavourneen", dating back to 1876. An etching printed on paper, held here at the Art Institute. Editor: Right away, there's a stillness that really strikes me. The intricate rendering of textures gives an almost photographic realism to the work, yet her averted gaze suggests an internal world we're not quite privy to. Curator: The magic of Tissot, right? This piece encapsulates the artist’s engagement with depicting modern women and their lives in a changing social landscape. Etchings like these allowed for broader distribution, reaching audiences beyond the traditional salon. Editor: It's amazing to think of the process itself, too. Etching isn't exactly spontaneous. Each line painstakingly laid, the bite of the acid carefully controlled. The fur, the folds of the fabric, each requiring layers of labor and technique. You really get a sense of the late 19th-century market that catered to this meticulous aesthetic. Curator: The title itself, “Mavourneen,” it’s Irish for “my darling.” So one wonders, who is this woman, draped in furs, seemingly lost in thought? Is she longing for something or someone? Or perhaps, is it about the artist’s own yearning, placing the work in that romanticism of the era? Editor: Possibly. I'm curious, though, about that fur itself. The etching highlights status, wealth, and how the consumption of luxury items permeated the art world. Not merely depicting elegance, but participating in the very economy it represents. Curator: An elegant, unsettling image—reflecting both Tissot's emotional sensitivity, as well as, shall we say, the complexities of the marketplace. Editor: It's a potent reminder that what we see—this delicate balance of skill and artistry—also carries the weight of materials, making processes, and social realities.