Lady in Formal Dress 1886

Curator: Looking at this 1886 watercolor, "Lady in Formal Dress," painted by Salvador Barbudo Sanchez, I'm struck by its quiet formality. It seems a study in contained elegance. Editor: The very first thing I notice is the medium. Watercolor can be deceivingly complex; its delicate washes here mask, perhaps, the amount of underpainting that went into it, the slow accumulation of layers creating this impression. It doesn't quite sit for me as "contained elegance," though I appreciate what you're seeing. To me, the somewhat imprecise quality in the draftsmanship almost pushes against that restraint, as does the lavish amount of expensive textiles. Curator: The blurring, or lack of detail you notice—isn't that part of the point? I find that Sanchez masterfully creates a space for imagination. Consider how the lady’s formal attire communicates social standing. Notice how the folds of her gown imply layers of significance beyond mere fabric. Isn’t that vase meant to complement her stature, mirroring a certain level of wealth? Editor: Of course, the details matter, or rather, the impression of detail, painstakingly crafted through a material like watercolor. We are still confronted with an economy of waste, even in the painted suggestion. Her gown, regardless of implied status, needed significant labor— someone to make the lace, someone to dye the fabric. And even as she poses here, in an attempt to flaunt these economic disparities, Sanchez undermines that with a specific technique. Note, that because this painting is of a modest scale on paper, we are brought close, nearly on equal footing with her despite those aspirations of the time. Curator: It makes you wonder, doesn’t it? What story is really being told here? Or better, is Sanchez conscious of his choice of medium playing against a message that promotes elevated status? Is the goal to critique that social echelon by way of a more modest artform? The academic art world would probably find his decision making highly unusual if it was interpreted in this way. Editor: Unusual perhaps. But more like quietly rebellious, creating space to re-evaluate how labor, craft and high society cross paths within one image. This may be due in part to it being a “watercolor.” Curator: Your perspective certainly casts the subject in a different light. It invites us to consider the silent dialogues happening between subject, object, and medium. Thank you. Editor: Thanks, I appreciate the historical and social context you've brought to this. It provides an important backdrop for a deeper, more holistic understanding.