Portrait of the artist's sister 1934

Editor: This is Zinaida Serebriakova’s "Portrait of the Artist’s Sister," created in 1934 using oil paint. There's a dreamy quality to it, especially with the soft blues and the sister's slightly melancholic expression. How would you interpret the meaning of this piece? Curator: This painting intrigues me most with the consideration of the artist’s relationship to her subject: her sister. Consider the labour inherent in producing this piece, both on Serebriakova’s part and in her sister posing for the portrait. We can see a visual echo of this relationship in the materiality of the artwork itself. The sister is draped in a ruffled gown and seems relaxed on her elbows, which would suggest ease. But where are we to place her social class if the piece focuses solely on beauty without highlighting an action? Is it art solely for arts sake? Editor: I see what you mean about their relationship manifesting in the labor and composition of the work. The intimacy and soft rendering certainly point to a close connection. So, is the act of painting her sister itself a form of celebrating her, almost elevating her domestic role to high art? Curator: Exactly. Consider, too, the access Serebriakova had to these materials—pigments, canvas—and the time to dedicate to this pursuit. In contrast to perhaps socially conscious artworks, "Portrait of the Artist’s Sister" seems to delight in its own beauty. Are we invited, then, to see art in something like fashion or daily life that elevates women as art rather than working women or leaders? Editor: That's a very interesting point. Thinking about the materials and context makes me consider the social statement this piece is making, whether intentional or not, about the representation of women. I now appreciate it on a deeper level! Curator: Absolutely! Focusing on the making of art allows us to broaden its definition as the sister or a house can be viewed as artistic, even in their very existence.