Ein Reiter mit Dreispitz und Zopf, im Hintergrund eine Kanallandschaft 

Editor: So, this watercolour drawing is called "A Rider with a Tricorne and Pigtail, with a Canal Landscape in the Background" by Cornelis Troost. I get a sense of theatricality from the rider, almost as if he's posing on a stage. How would you interpret it? Curator: Looking at this through a materialist lens, I’m drawn to the context of its production. Watercolors were often favored for their portability and relative affordability, making them accessible to a burgeoning middle class. Do you notice the detail given to the rider's attire versus the mundane environment? Editor: I do. His fancy coat and wig really stand out compared to the somewhat drab building behind him and the very bare landscape. Curator: Precisely. This highlights consumption and the performance of status. How might the availability of pigments and the labor involved in creating such a piece inform our understanding of 18th-century Dutch society? Consider the cost of the materials, the time Troost invested... Editor: So, it wasn't just about the image itself, but also about who could afford art, who made it, and what that says about wealth distribution. The pigments, even the paper, represented a certain level of resources and access, right? Curator: Exactly! Furthermore, consider the subject. It's not a grand historical scene, but a rider, likely of some means, perhaps showing off. The act of depicting this lifestyle points to an emerging consumer culture. Does seeing the work this way shift your initial reaction? Editor: Definitely. I still see the theatricality, but now I'm also seeing it as a document of a very specific social moment, revealing details about class and commerce. Curator: Indeed. Art isn't just about beauty; it’s a product embedded in a complex web of social and economic relationships. Editor: It’s fascinating how much context changes what you see. Thanks for opening my eyes to this.