Portrait of the Postman Joseph Roulin 1889

Editor: So, this is Van Gogh’s "Portrait of the Postman Joseph Roulin," painted in 1889, using oil paint, of course. It's incredibly textured, almost sculpted with paint! What I find striking is how much presence Roulin has; he looks sturdy, grounded. What strikes you most about it? Curator: As a materialist, I’m drawn to the impasto. Notice how Van Gogh deploys the oil paint not merely to represent, but to *construct*. Think about the labour involved, the sheer volume of paint, the cost of materials for someone of Van Gogh’s social standing at the time. He’s imbuing the everyday labourer with a certain monumentality, built from the very earth itself. It makes one consider the Postman’s occupation. What was the social role of a Postman at that time? Editor: It makes me think about communication, connections, but also labor. I wonder if choosing a postman was a statement about the importance of everyday work? Curator: Exactly! And let's consider the material reality of Roulin’s uniform. It signifies his place in the postal system – a burgeoning bureaucratic structure. Van Gogh elevates that through the artistic process. The impasto technique draws our attention to the materiality of both art-making and Roulin's social identity. Isn’t that interesting? Editor: Very interesting! So you're suggesting that Van Gogh, through his labor and materials, elevates the status and explores the role of a working-class individual within the social structure? Curator: Precisely! He's not just painting a portrait; he’s engaging with the social fabric through his artistic choices. What do you make of that decorative floral pattern? Editor: That’s a nice question! I guess those could also indicate a connection between Roulin and the world. And to Van Gogh himself? After all, he was really productive during that period! I guess I learned that the medium, the material choices of art can provide profound insights. Curator: Indeed. Focusing on the materiality offers us an entirely new understanding.