Rinaldo Abandoning Armida c. 1785

Editor: Here we have Jean Jacques Lagrenée's "Rinaldo Abandoning Armida" from around 1785. It's rendered in ink on paper, and the whole scene has this rather dramatic, theatrical air. What grabs you most when you look at this? Curator: Well, first, consider the materiality. Ink, typically used for studies or preparatory sketches, here feels like a finished statement. Why? Lagrenée is deliberately choosing a 'lesser' material. Was he commenting on the lavishness of the aristocracy, the patrons of art? By embracing a humble medium, he seems to be critiquing the excesses surrounding him. Editor: That's interesting. So, it’s not just about the historical narrative; it’s about the physical making of the artwork, the materials used, and what that might imply? Curator: Exactly! The paper itself also speaks. The textures, likely handmade at that time, contribute to a unique visual experience that differs from a pristine canvas primed for oil paint. It shifts the emphasis from the idealized form of neoclassicism to a focus on the material conditions and labor that made such an image possible. Do you think this would have resonated with audiences at the time? Editor: I hadn't considered the reaction of the Neoclassical audience to the work and materiality, perhaps as a deviation from the norm. It prompts me to reconsider how the materials reflect the artistic values and the potential social context. Curator: Precisely. Looking at how things are made, and the choices behind those decisions, unlocks layers of meaning we often overlook when we just consider the subject matter or style. Editor: I learned how much we can unpack when we look closely at production itself. It has changed how I view this work. Curator: Indeed. Every art piece bears the stamp of its material reality.