Drei Tugenden in den Wolken schwebend 

Editor: Here we have "Drei Tugenden in den Wolken schwebend" – that translates to "Three Virtues Floating in the Clouds," right? – by Gaspare Diziani. It looks like a drawing, with ink, chalk and graphite, all in reddish-brown tones. I’m struck by how light and airy it feels despite being grounded in allegory and figuration. What catches your eye about this piece? Curator: For me, it's how Diziani uses these relatively humble materials – ink, chalk, graphite – to depict something so seemingly grand and ethereal. Consider the socio-economic context; was this a study for a larger commission? Or a standalone piece intended for a different market? The very act of rendering "virtues" – these abstract concepts – through readily available materials speaks volumes about the role of the artist in 18th century society. The method is not simply representational; it’s deeply embedded in a system of production and consumption. Editor: That's interesting. I hadn't considered the accessibility of the materials. Do you think the medium itself influences how we interpret the allegory? Curator: Absolutely. The use of drawing materials as opposed to, say, oil paints, subtly shifts the emphasis. It becomes less about divine authority and more about human effort and skill. We’re looking at the labor of representation, the choices made by the artist in selecting and manipulating these specific materials. How might this contrast with, for instance, a tapestry depicting similar themes? What labor and means would that entail? Editor: That makes so much sense. It moves the focus from the virtues themselves to Diziani's act of bringing them to life. It reveals something of the hand. Curator: Precisely. We can see the making visible in the marks themselves, almost a meditation on craft itself becoming a virtue. Editor: It’s amazing to think that just considering the materials can open up entirely new ways of understanding the artwork's meaning and purpose. Curator: Indeed, and hopefully encourages deeper inquiries into the modes of making art that are usually overlooked.