The Malcolms 2019

Editor: Here we have Aaron Nagel’s "The Malcolms" from 2019, rendered in oil paint. It’s immediately striking. The composition, the stillness, the…seriousness? What's your read on this, what do you see in this piece? Curator: That "seriousness" you mention…yes, it's compelling isn’t it? Portraits often seek to capture a likeness, a feeling, perhaps even the sitter's "soul," whatever that means. But this goes further. Nagel's almost…hyperreal rendering brings to mind those Renaissance portraits of dukes and duchesses. Think Holbein – yet, here we have two kids in modern dress. There's this beautiful juxtaposition, isn’t there, between their clothing and pose with that gravitas usually reserved for royalty. Editor: So you’re saying Nagel’s deliberately playing with art history here? Almost remixing it? Curator: Precisely. But beyond the historical echoes, I’m curious about the geometric patterns subtly worked into the clothes, the girl's leggings echoing those of her brother. Does it hint at a shared history? Or perhaps…an unspoken connection? It’s up to the viewer to interpret it. Does that armchair seem oversized to you, by the way? I think it does, a symbol maybe of them growing into a space? Editor: Hmmm, interesting perspective, particularly the scale of the chair. It makes me think about how we project expectations onto children… expecting them to fill these roles. It is fascinating to compare it to royal portraiture and see that contrast, particularly when you add the symbolism in their garments! Curator: Glad you’re getting this, because ultimately art *should* stir conversation. See what rabbit holes appear; there’s never just one solution. Editor: Thanks for sharing insights on the deeper context.