Il tesoro delle famiglie, 1 Luglio (juli) 1881 1881

Curator: Allow me to introduce a lovely piece entitled “Il tesoro delle famiglie, 1 Luglio (juli) 1881”, or “The treasure of families, July 1st, 1881,” by P. Deferneville. It appears to be a drawing, rendered in an Impressionistic style. Editor: My first impression is one of meticulous detail and slightly subdued gaiety. The textures of the dresses are so complex, especially when set against that open coastal backdrop. I wonder, how was this artwork produced and what materials were involved in this rendering? Curator: It appears to be an exercise in capturing fleeting light and movement. Note the soft, diffused edges and the almost watercolor-like quality of the colors, elements quintessential to Impressionistic drawings. Editor: Absolutely, but the image evokes for me the context of dressmaking and fashion production, alluding to social values, labor, and perhaps aspirations to new wealth. Note that the profusion of lace indicates handcraft, signifying that skilled artisan labor was incorporated, especially at a time when nascent mass-produced goods began appearing in marketplaces and fashion publications. Curator: Perhaps, but consider how the lines guide our gaze; the curve of the parasols mirroring the posture of the figures creates visual harmony. I am thinking it explores the interplay of form and figure in a very studied way. Editor: Form definitely follows function here—fashion being part and parcel of one's function in society. In examining materiality we are seeing indicators of production chains but, simultaneously, of what constituted "good taste." These were material cues that could mark social standing and differentiate wearers based on wealth, status, etc. Curator: Still, there's a timeless elegance in how Deferneville captured a sense of serenity, wouldn’t you say? It seems that the rendering of shape and silhouette supersedes such overt societal considerations. Editor: Maybe the treasure referenced in the title isn’t just familial but also references all of the invisible production, labour, and materials embedded in it. Curator: I now perceive this drawing in an enriched manner due to your interpretation—it has allowed me to broaden my perspective of its context. Editor: And I leave considering the drawing’s elegance—a quality easy to overlook when steeped in thoughts about production.