Yegor Ivanovich Meller-Zakomelsky, Russian General Leytenant 

Editor: Here we have a portrait of Yegor Ivanovich Meller-Zakomelsky, a Russian General, painted with oil on canvas by George Dawe. The overwhelming feeling I get is of immense wealth and power, not just from his stern look but mainly through the opulent materials of his uniform. What strikes you about this work? Curator: The materials are certainly the focal point. But it’s crucial to examine Dawe's process – the labor involved in producing such a detailed depiction of wealth. Consider the sourcing of pigments, the layering of paint, the man-hours invested. What does that labor, and the cost, represent in the context of 19th-century Russia? Editor: I see what you mean. It makes you think about the economic disparities and who could even afford to commission such a painting, let alone own so much regalia. Did the materiality of the painting affect its reception back then? Curator: Undoubtedly. Oil paint, at the time, was becoming more widely available, but to afford a large-scale portrait such as this, employing precious pigments and detailed brushwork, solidified Meller-Zakomelsky’s social position and amplified his political significance. The layering of the materials becomes a symbol of hierarchy. Do you notice how the uniform almost becomes a sculpture of power itself? Editor: Absolutely! It’s almost like the sitter and the uniform are fused, suggesting his identity is inseparable from his position and wealth. So, understanding the means of production opens up discussions far beyond just aesthetics? Curator: Precisely! It challenges us to look beyond the surface and delve into the social and economic structures that gave rise to the artwork in the first place. Editor: This gives me so much more to consider when looking at art – thinking not just about the subject but about the very act of making. Curator: And the context within which it was created and consumed! Art is rarely just about "art" itself, it is intrinsically related to making.