Autumn 1786

Editor: Goya's "Autumn," painted in 1786 with oil, presents such an interesting scene of people harvesting grapes. The detail in their clothing really stands out. What strikes you most about the materiality and process behind this work? Curator: The textures within this painting, created through layers of oil paint, invite consideration of the labor involved. Beyond the visual, think of the sourcing of pigments, the grinding and mixing, the physical act of applying paint to canvas. It's all connected to economics and trade. Are those grapes meant for simple sustenance, or a commodity to be transformed into wine? Editor: That's a great point. I hadn’t considered the socioeconomic aspect tied to the grapes. Does the way Goya applied the paint reflect the social status of his subjects, maybe the finer details for the wealthier figures? Curator: Precisely. Note how Goya uses more precise brushstrokes and detail on the figures' clothing, especially the woman in the dark dress. What kind of textiles were available at the time? The availability of those materials dictated how Goya rendered them and suggests a specific consumer culture. Editor: So the material itself, like the pigments and canvas, and even what the subjects are wearing, tell us a lot about the time and the people? It is more than just what it looks like on the surface? Curator: Exactly. Goya wasn't simply representing a scene, he was participating in and commenting on the material culture of his time. This was meant to be displayed as a tapestry cartoon, how might its materiality impact the viewer? Editor: I now see how analyzing materials adds a new layer of understanding to the art beyond subject matter, style, and technique! It also sheds some light on labor, economics and societal roles during the 18th century. Curator: Absolutely. This exploration challenges us to recognize art not as a product of pure genius, but as a result of material circumstances and social interactions.