Portret van een staande dame met zwarte shawl en zwarte hoed 1814 - 1860

Curator: Here we have a "Portret van een staande dame met zwarte shawl en zwarte hoed," or "Portrait of a Standing Lady with Black Shawl and Black Hat," attributed to Auguste Raffet, created sometime between 1814 and 1860. Editor: It’s… muted. Austere, almost. The greyscale palette emphasizes the textures, especially the hat. I’m immediately drawn to the fabrics depicted. Curator: Exactly. Observe the interplay of line and tone; see how Raffet modulates the pencil strokes to capture the textures—the soft drape of her shawl versus the rigid, ornamented hat. The contrast enhances the overall visual harmony, embodying romantic ideals of beauty and elegance. Editor: The hat, in particular, speaks volumes. The visible work in shaping, stitching and embellishing this high status material would demand long hours by multiple makers. Who were these individuals and what were their working conditions? Curator: A pertinent question! The drawing skillfully embodies academic art principles. The way Raffet renders form and shadow showcases mastery. There is an essence captured here, of something beyond simple likeness. Editor: While technically accomplished, I am left pondering who produced that shawl's fabric. It whispers tales of material sourcing and hidden labour—global supply chains and gendered work of manufacture. This artwork inadvertently highlights inequalities embedded within the image itself. Curator: And it does so through masterful execution of line, light, and composition, reminding us that true art can hold space for both technical brilliance and social resonance. Editor: Absolutely. Viewing art through the lens of its materiality brings into stark relief that an image cannot always mask issues related to labor and manufacturing and social identity. The woman as image is inextricable from women at work.