St. Jerome in his Study 1432

Editor: Here we have Jan van Eyck’s "St. Jerome in his Study," painted in 1432. The textures, particularly the wood grain and the saint's robes, feel almost tactile. I’m really struck by the contrast between the detailed textures of everyday objects, and the sort of stillness or the frozen motion suggested by Jerome resting his head. What do you see as most compelling about this piece? Curator: The emphasis on materiality is striking. Consider the very production of oil paint itself. Van Eyck was renowned for it; he turned raw pigments into this medium. That incredible detail – it wasn't just about showing wealth, but also the knowledge and labor involved in producing these very pigments and objects that fill his workspace. Look at the labor required to make that textile draped over the desk. What do you think that tells us? Editor: It highlights how valued labor was in that period? Or perhaps how accessible it had become? The fabrics, the books… all goods traded within Europe, right? Curator: Exactly. It speaks volumes about early capitalist society and expanded trade networks. And the desk, it’s the site of intellectual labour and the locus point to global exchange of the book-making technologies such as ink and paper. Editor: So, it’s less about a devotional image and more a snapshot of early capitalism through the objects that surrounded St. Jerome? Curator: The spiritual and the material weren't separate, necessarily. This piece offers a way to see faith interwoven with the burgeoning world of commerce and craft production. The everyday textures become evidence, almost forensic, offering ways to read a period. Editor: I see. Thanks to your analysis, I'm definitely seeing the painting with fresh eyes. Curator: And I think I see that balance between craft and art slightly differently. Perhaps it is devotional after all?