Mrs. Phebe Houston 1837

Editor: Here we have Elias V. Coe's portrait of "Mrs. Phebe Houston" from 1837, rendered in oil paint. What strikes me is the materiality of her clothing – all that lace and fine fabric, offset by a severe black dress. What stands out to you about this piece? Curator: I am drawn to precisely that: the textiles. The materiality of the sitter's attire and belongings speaks volumes. Notice the detailed rendering of the lace, the satin ribbon, and the delicate gold chain. These items point to the sitter’s social standing and the economic system that produced such goods. Consider where these materials were sourced – likely through trade networks reliant on exploitation and enslaved labor. Do you think Coe was conscious of this while producing the portrait? Editor: That's an interesting perspective. It makes me consider the power dynamics inherent in portraiture and the consumerism of the era. It's not just a representation of a person; it's a representation of wealth and privilege. Curator: Precisely. How do you see this challenging the boundary between "high art" and the realities of daily life? The fine art aspect of the painting serves as a form of advertisement and documentation of social status through the clothing and object. We are faced with examining the labour that was consumed, hidden behind this depiction of wealth and virtue. Editor: I see your point. The artist's labor in creating the portrait is evident, but so too is the labor embedded in Mrs. Houston's garments and accessories. The act of depicting them elevates their importance. This changes my perception of the subject now. It’s far more complex than simply a stately woman being immortalized in paint. Curator: Indeed. It’s an intricate web of creation, consumption, and representation. Editor: Thank you, I appreciate learning about the artwork this way.