Armor in the Studio 1918

Editor: This is Lovis Corinth’s “Armor in the Studio,” painted in 1918. The thick brushstrokes and the somewhat haphazard composition give the impression of a chaotic workspace. The materiality seems important, a study in light reflecting off of metal. What strikes you about this piece? Curator: What interests me most is the implied labor. Not necessarily Corinth's labour, but that which brought this suit of armor into being. Think of the mining and smelting of ore, the forming and shaping of each plate, the countless hours of hammering, polishing, and fitting. It's a social history embedded in the object. Editor: So you're saying that the armor isn't just a historical artifact, but a testament to the many hands involved in its creation? Curator: Exactly. The act of making is front and center, but Corinth then transforms that initial act of creation with his own labor. The quick, gestural strokes speak to his artistic process and physical involvement, overlaying yet another layer of creation onto that armor. Where and how does that production begin and end? Is the artwork really ever "done"? Editor: That's fascinating. So, it's a sort of palimpsest of labor – from the armor's original creation to Corinth's artistic reinterpretation? Curator: Precisely. Consider the economics of this object, its military purpose, and its subsequent journey into an artist's studio as an object of study. The context is critical, here. Editor: I never thought of it that way before, focusing on the raw materials and social conditions that led to the armor. I definitely see Corinth’s artistic intervention, the layering of material processes. Thank you! Curator: A painting such as this serves as a reminder of how deeply intertwined the worlds of art and labor are. A true collaboration!