The Choice of a Model 1868 - 1874

Curator: Mariano Fortuny's "The Choice of a Model," crafted between 1868 and 1874, plunges us into a 19th-century artist's studio, thick with historical allusion and burgeoning Realist sensibilities. Editor: My initial impression is one of controlled chaos. The opulent, decaying interior is overwhelming; the impasto application gives the surfaces almost a tactile dimension, blurring the line between painting and relief. Curator: Indeed, observe the painting’s tripartite division: on the right, a partially draped female model stands on a table; in the center, dandyish men scrutinize the proceedings; and the left recedes into an ambiguous interior. These arrangements create a compelling dialogue of gazes. Editor: The material culture seems to mock Neoclassical aspirations. Note the disarray: the model's discarded clothing, the unfinished state of decoration. This seems a commentary on artistic production as messy and complex—far removed from any idealized view. The labor involved is clearly visible. Curator: It’s crucial to consider Fortuny’s training and artistic influences. We see nods to both Venetian and Spanish masters in the painterly brushstrokes and tenebrism. He offers not only a depiction, but an intricate conversation with art history itself. The very composition serves as a study in contrasts. Editor: And yet, the theatricality also raises questions. Are we to admire this scene, or critique the male gaze assessing the woman? The ornate frame of the mirror feels almost cage-like. What societal norms and power structures are being produced within this artistic enterprise? What choices are really possible for this figure? Curator: Fortuny here manipulates both form and content, using illusionistic painting to offer what Roland Barthes might term a myth – that of artistic inspiration. It's a dance between truth and representation, complicated by visual delights. Editor: Yes, thinking materially reveals those uncomfortable realities but also showcases artistic labor and societal dynamics woven into each brushstroke. Curator: "The Choice of a Model" is thus not just an artwork, it is a tableau vivant, ripe for discussion. Editor: I find the complexities of material, subject and context to be continually challenging. Thank you for the deep discussion!