Portrait of a lady sitting in a chair 

Editor: Here we have a portrait by Jacob Jordaens, titled "Portrait of a lady sitting in a chair" using oil paint. The woman appears very poised. What captures your attention most in this piece? Curator: Well, let's consider the materiality of her clothing, particularly the fur. What animals were exploited for this portrait? Who were the fur trappers, and what were their lives like? Also, who was involved in the weaving of that fabric? This isn’t just about portraying a lady; it's about showcasing the vast network of labor involved in the very construction of this image. Editor: That’s fascinating. I hadn’t considered the supply chain! So, you're saying the portrait isn’t just about her, but the materials used to represent her? Curator: Precisely! And the sitter’s status is reflected in these materials. Where were they sourced? What does that say about international trade routes and power dynamics at the time? Notice the execution of the ruffled collar. Someone, probably several people, dedicated considerable hours to produce it. It's not merely decorative; it screams access and control. Editor: So, her status is inextricably linked to the labor and resources evident in her clothing? Curator: Exactly. Consider the relationship between high art and craft. This painting exists because countless individuals contributed their specialized skills and labor to create the paints, the canvas, and the clothing the sitter wears. It breaks down this illusion that art is solely the product of the "genius" artist, bringing a whole world into frame. Editor: I never thought of portraiture in that way. Curator: Examining art through the lens of materials and production opens a whole new way to analyze visual culture. The history of the objects in an image creates new stories of class, society and labor.