At the Modiste 

Editor: Isaac Israels’ “At the Modiste” is a portrait rendered in, what looks like, pastels. I'm immediately drawn to the woman's expression. There’s almost a somber quality to her gaze. What do you see in this piece? Curator: It’s interesting that you picked up on that somber quality. This work reflects Israels' broader interest in portraying women not as idealized figures, but within the context of their daily lives, in this case, a fitting room. Considering the late 19th-century context, how do you think this portrayal of women deviates from traditional representations? Editor: I guess instead of mythological or allegorical depictions, we are presented with a very real, almost mundane moment of dressmaking. It feels quite revolutionary. Was this a conscious effort by artists like Israels? Curator: Precisely. Artists began to focus on depicting everyday life as a reflection of social shifts and changing values. By choosing the setting of a 'modiste,' or a fashion workshop, and rendering it in impressionistic strokes, what statement do you think Israels is making about the role of women and consumer culture in that era? Editor: It hints at the burgeoning consumerism of the time. Maybe Israels critiquing the objectification of women, turning them into commodities of the fashion industry? Curator: Potentially, although it could also be interpreted as depicting their involvement in it, granting them agency within the framework. This ambiguity, combined with his impressionistic style, invites multiple interpretations regarding women's roles within the evolving socio-economic landscape of the period. Editor: That's so interesting! I had originally interpreted the somberness as passive, but thinking of her agency within the space of a ‘modiste,’ really complicates it. Curator: Exactly, art is in continuous dialogue with society. And that interplay is what continues to captivate me.