The last kiss of Romeo and Juliet 1823

Editor: We're looking at "The Last Kiss of Romeo and Juliet" by Francesco Hayez, painted in 1823. It's an oil painting, and the couple embracing is intensely dramatic. I'm struck by how staged the scene appears. What's your perspective? Curator: It's tempting to get swept up in the romantic narrative, isn't it? But let's consider the materiality: the rich, expensive pigments used for their costumes versus the subdued palette of the background. Who could afford such materials and for what purpose? The artist isn’t merely depicting a story; he is also showcasing wealth, patronage, and class through material display. Editor: That's interesting! I hadn't thought about the pigments themselves as a signifier of status. Curator: Precisely. Think about the societal context in which this painting was made. Italy was under Austrian rule, and Hayez's works were often seen as veiled commentaries on political oppression. Could the opulence in the foreground, contrasted with the somber backdrop, hint at a critique of the ruling elite's detachment from the realities faced by the masses? Consider the work that went into constructing those costumes, the labor of the tailors… where do they fit into this romantic image? Editor: So you're saying it's less about the doomed romance and more about the social forces at play during that period? Curator: In part. The scene is meticulously crafted. How are we meant to consume it? To aspire to it, or to question the socio-economic systems that allow such displays of finery amidst turmoil? The “last kiss” is as much a commodity as the canvas it’s painted on. Editor: I never considered the role of class in Romeo and Juliet! Thanks, I’ll definitely look at Hayez and Romanticism differently from now on. Curator: Glad to offer a different angle. It reminds us to question what’s really being depicted beyond the surface.