The Village Dressmakers 1835 - 1900

Curator: Jean-François Millet’s “The Village Dressmakers,” likely created between 1835 and 1900, offers a glimpse into the domestic sphere of labor through an engraving on paper. Editor: The somber tones create such an atmosphere, wouldn’t you say? A certain quiet determination pervades. It speaks to the realities, the working conditions of these women... Curator: Absolutely. Note how Millet’s realism focuses on their roles. It highlights their contributions to a burgeoning economic system at the turn of the century. Were they adequately compensated? That’s an intersection of gender and economic agency which deserves scrutiny. Editor: The way the artist uses line and shadow is fascinating. Observe how the light falls on the fabric; that’s not simply visual. It is meant to indicate the painstaking detail required in their craft. Engraving allowed for mass production. Who was going to buy them? Curator: Considering the genre, we can't forget to examine the narratives inherent in portraying working-class women. We see echoes of similar images being disseminated across Europe in other countries as well, often through prints. These prints shaped the narrative about them. Were they a form of subjugation of female agency? Editor: We cannot also simply see them as simply passive recipients in an unjust economic arrangement. Look at how their physical gestures illustrate collaboration. Perhaps through this work, the artisan can achieve a degree of self-autonomy that wasn’t granted any other way? Curator: Perhaps this artwork invites a necessary re-examination of their role. It's more nuanced, though it is not unproblematic, of course. Editor: Looking closely has really opened up new ways of considering the nature of working women. Thank you!