The Judgement Of Paris 

Editor: Here we have Jean-Francois de Troy’s "The Judgement of Paris," an oil painting rendered in the Rococo style. There's such a rich, tactile quality to it...the way the fabric drapes, the almost luminous flesh tones. How might we interpret this work, thinking about materials and their impact? Curator: Well, first, consider the sheer volume of material wealth represented. Look at the cost of the pigments themselves – the ultramarine blues in the draped fabric, derived from lapis lazuli, would have been staggeringly expensive. What does that suggest about the patronage and intended audience? Editor: It implies a wealthy patron, definitely someone who could afford such luxurious materials, perhaps even as a display of that very wealth. But how does the emphasis on materials alter our understanding of the narrative? Curator: Exactly. The story of the Judgement of Paris becomes secondary to the display of affluence. De Troy isn't simply depicting a mythological scene, he's participating in a cycle of consumption and spectacle. Think of the labor involved: the mining of the pigments, the grinding, mixing, the weaving of the fabrics depicted. All contribute to a story far beyond Paris's choice. Editor: So it’s not just about the mythical narrative but about the tangible reality of production that's usually hidden. Almost a proto-Marxist statement through expensive paint! Curator: (Laughs) Perhaps! But certainly, it encourages us to look beyond the surface of the beautiful figures and see the complex web of labour and consumption that makes such beauty possible, such luxurious material culture is not accidentally rich. Editor: I see. I'll never look at a Rococo painting the same way again, thinking of material extraction and cost! Thanks! Curator: And I will remember that beauty is born of labour. Thank you!