The Holy Family with St. Elizabeth 1615

Editor: We are looking at "The Holy Family with St. Elizabeth" by Peter Paul Rubens, created around 1615, using oil paint. The first thing that grabs me is the sheer tactile quality of it all – the plump figures, the textures in the basket…it's all so immediate! How can we delve a little deeper into the layers of materiality and creation within this painting? Curator: Think about Rubens's workshop, the sheer scale of production. Paintings like these were rarely the work of one hand alone. Consider the cost of the pigments themselves – ultramarine from lapis lazuli, for instance, was more precious than gold. Who would have been responsible for grinding the pigments, preparing the canvases, and laying down the initial layers of paint? Editor: So, the 'aura' of Rubens – is that diluted somewhat by considering the labor involved? Is it still 'his' work, or the product of a complex system? Curator: Exactly! By examining the division of labor, we confront the economic realities underlying these so-called masterpieces. Who benefited financially from the creation and sale of this painting? Was it primarily Rubens, or did the profits trickle down to the assistants who contributed to its creation? Furthermore, think about the source of materials and trade. This tells you about early 17th century trade routes, power dynamics and manufacturing. Editor: That's fascinating! The painting becomes less about divine inspiration and more about very real, earthly concerns: the supply chains, workshop hierarchies and consumer desires of the Baroque period. Curator: Precisely. The 'holy' narrative serves as a vehicle for a display of wealth, skill, and the complex social and economic network that sustains artistic production. Editor: It's given me a completely new perspective on how to appreciate art of this period, thinking about the means of its production. Thanks!