The Ladies Waldegrave 1780

Editor: Here we have "The Ladies Waldegrave," painted by Joshua Reynolds in 1780. It's an oil painting of three women engaged in needlework, and there's a general atmosphere of refined leisure. What's most interesting about this piece to you? Curator: The immediate draw for me is how Reynolds elevates these acts of "domesticity" - needlework, letter writing, the making of lace - traditionally designated as craft, to the same level as history painting, considered at that time the pinnacle of artistic achievement. What can the materiality and production of such artwork tell us? Editor: So you're suggesting that Reynolds is challenging the art world’s established hierarchies through his choice of subject and how he portrays them? Curator: Precisely. Look at the intense detail given to the lace on their dresses. These were painstakingly made, employing potentially many anonymous workers in specific regions; often women working for very little. The consumerist display clashes with this laborious production process. What tensions arise from these visual juxtapositions of social classes? Editor: That makes me consider who Reynolds' audience might have been, too. Those intricate fabrics and expensive materials - only a wealthy patron could have truly appreciated and afforded them. Is this portrait then a testament to their financial success? Curator: To a degree, yes, but more than that, it showcases a societal dependence on exploitative labour practices. It invites us to consider who made the things, at whose expense and under which conditions. What message is delivered in the ladies' apparent oblivious immersion? Editor: I never thought about Rococo art having that level of social commentary. This perspective really changes how I interpret portraits from that era. Curator: Indeed. Focusing on materials and the production gives insight into the labor and context surrounding such beautiful artwork.