The Fall of Icarus 1637

Editor: This is "The Fall of Icarus," an oil painting by Jacob Peter Gowy, dating back to 1637. The contrast between the dynamic figures in the sky and the subdued landscape is really striking. What can you tell me about it? Curator: From a materialist perspective, it's crucial to consider the very oil paints Gowy used. Where did these pigments originate? Who was involved in their harvesting and processing? The luxury of oil paints itself speaks to the patronage system. And consider the scale—a large canvas required resources and signified status. Editor: So, it's not just about the myth of Icarus, but also about the social structures that allowed Gowy to even create this painting? Curator: Precisely! The artist is, of course, of consequence, however, let's contemplate how art production itself becomes a kind of labor. The Baroque style, with its dynamic movement and emotional intensity, was itself in high demand by the upper classes for political display and propagandistic messages. Consider this painting's ability to function as an aspirational mythic moment: who do the ruling elite relate with here, the triumphant craftsman or the tragic over-reacher? Editor: That's a fascinating way to look at it! So, beyond the surface narrative, you are emphasizing the political context through the work's material components and Baroque conventions. Curator: Absolutely! Moreover, how are classical myths being re-evaluated, reconsidered and remade through visual craft practices of the 17th century? Also, what materials beyond oil paints factor in? Are there further elements impacting production or social conditions implied by, say, Daedalus's lost wax and feather-crafting techniques that formed Icarus' wings? These details can show us what value is implied for artisanal modes by the elite class that this piece may ultimately have served. Editor: I hadn't thought about that at all. This has completely shifted my perception of the painting! Thanks! Curator: The real beauty lies in uncovering the story of materials and how these are socially constructed through craft and modes of Baroque production, isn’t it?