Neige à Montmartre 

Curator: This is “Neige à Montmartre” by Pierre-Jacques Pelletier, done in pastel. The artist applied the pastels using impasto and plein-air techniques, characteristic of Neo-Impressionism. Editor: The cool blues and greys really give it a feeling of crisp, wintry air. What I find most interesting is the impasto technique – the paint seems really thick. What does that say about the creation process and the social context surrounding the materials employed? Curator: The thickness and application of the pastel isn’t just aesthetic; it speaks to Pelletier’s deliberate use and potential rejection of readily available materials for high art in favor of laborious applications. Neo-Impressionism wasn’t just about depicting light; it was often about a conscious decision regarding how that depiction was achieved. Editor: So, instead of quick, flowing lines we see controlled applications of impasto? Curator: Precisely! What does this potentially say about the perceived value of leisure time depicted in many other landscape paintings, when compared to a more time consuming technique that embraces materiality? How does this challenge any assumed boundaries of what high art can be by almost flaunting its labored existence? Editor: That is so interesting, I always saw landscapes simply representing scenes but I never gave thought to how materials, Neo-Impressionistic ideals, and application techniques play such key roles in redefining value! It really goes beyond merely capturing scenery. Curator: It highlights the artist’s involvement, labour and their intentional social commentary. Editor: I'll never view landscapes quite the same again, keeping the materials and the process behind them in my analysis. Curator: Indeed, a painting is not only what is depicted but *how* it is depicted. The hand of the artist is in every layer and color, contributing to the discourse of labor.