Maria and Baby 1917

Editor: We are looking at Robert Henri's "Maria and Baby" from 1917, an oil painting. The vibrant reds and blues are quite striking! What draws my attention is the rich materiality of the paint itself. What do you see in this piece? Curator: The heavy impasto certainly calls attention to the labor involved in its creation. Observe how Henri manipulates the oil paint. Consider not just what is depicted, but the very *stuff* of the image. The thick application of pigment emphasizes the physical reality of art production and consumption during that era. Notice also the almost defiant, non-idealized portrayal. Does this tell us anything about the intended market for such a painting? Editor: You make me consider who might acquire a work like this. Is it about seeing the artistic process as something of value in itself? How does this work challenge more traditional portraits of motherhood? Curator: Precisely. Henri seemingly shuns a purely aesthetic representation, focusing on the tangible aspects: the oil’s texture, its cost, and its application. Where does this place ‘Maria and Baby’ relative to craft, and even industry? Does this work blur established distinctions between high art and mere commodity? Editor: Thinking about art as commodity… it gives me so much to reflect on regarding Henri's techniques. Curator: Indeed. The painting now serves as a potent symbol for pondering art’s material creation.