Jean 

Editor: So this is John Bratby's painting, simply titled "Jean," done with oil paint. The brushstrokes are so raw and the colors are almost jarring. What strikes you when you look at it? Curator: I'm struck by how this image engages with the historical context of portraiture itself, especially as painted by male artists of women in domestic roles, in opposition to which we might view this artist’s relationship with his muses and his very deliberate use of the expressionistic style. Look at how the thick, almost aggressive brushstrokes seem to dissect rather than idealize Jean, denying a passive objectification. Bratby seems to reject the male gaze. What do you think about how the social climate could have influenced the painting? Editor: I never thought about it that way. I was focused on the roughness, but it makes sense that the social environment had an effect in creating such a confrontational image. Curator: Exactly. And consider the domesticity of Bratby's subjects – his wife and family were frequent models. Doesn't that location of "the home" itself become politicized in the context of second-wave feminism and its interrogation of gender roles? Editor: It does, actually! He's not placing her on a pedestal, is he? Curator: No, quite the opposite. Bratby’s "Jean" participates in a dialogue that moves toward female agency. Are we seeing a more genuine portrayal, beyond societal expectation? Editor: This changes everything. The painting feels a lot less random and more… deliberate. Thanks for helping me unpack that! Curator: My pleasure. It's by questioning assumed roles, and shining light onto societal expectations and gender expression that the painting gains impact. It invites ongoing conversation.