Portrait of a young girl 1887

Editor: Here we have Vincenzo Irolli's "Portrait of a Young Girl" from 1887, crafted with oil paint. The subject's gaze is striking, almost confrontational, but also sad. What catches your attention in this painting? Curator: The application of the oil paint itself interests me. Notice how Irolli handles the texture and viscosity to depict the shawl versus the girl’s skin. It speaks to the material conditions of the sitter – this isn’t high society; we're seeing a depiction of working-class life made available for consumption by a different class altogether. Editor: So, the way he uses the paint becomes a statement about class? Curator: Precisely. Look at the swift, almost careless brushstrokes in the background compared to the more deliberate rendering of her face and shawl. There’s an economy of effort here. What was Irolli saying through his choices of material use about the value of his subject? Editor: It’s almost like the background is just a backdrop, not worthy of the same level of detail. I see what you mean. He focuses the labour of his craft on rendering her likeness, highlighting her humanity. Curator: Exactly. Consider the availability of paints during this period, and who could afford to commission such works, we can unpack a fascinating story about labor, artistic production, and the burgeoning art market in late 19th-century Europe. This brings the social circumstances surrounding both Irolli, as the producer, and this unnamed young woman into focus. What did both parties have to give and gain? Editor: I never considered looking at a portrait through that lens. I was so focused on the emotion, that I missed the whole economic dynamic! It gives it such a different weight, focusing on production and resources, on who is seen as worthy of that labour. Curator: Indeed! Hopefully, it is one of the many exciting paths to analysis this work presents.