The Dismissal of Hagar 1680 - 1727

Editor: Here we have Aert de Gelder's "The Dismissal of Hagar," created sometime between 1680 and 1727. It's an ink and pen drawing on toned paper. It strikes me as a rather theatrical presentation of what must have been a difficult moment. What are your initial thoughts? Curator: Considering Gelder's artistic lineage—as a student of Rembrandt—it is interesting to analyze his means of production. The choice of ink and pen on toned paper, while seemingly simple, speaks to broader economic and social conditions of the time. Editor: Could you elaborate on that? Curator: The affordability and accessibility of these materials made art production more democratic. The use of toned paper, instead of stark white, suggests a concern with manipulating light and shadow efficiently, economizing labour while mimicking richer tonal values achieved with more expensive techniques like painting. It hints at the burgeoning art market and the demand for art accessible to a wider audience. Editor: So you're saying that the *choice* of materials is significant, not just the image it depicts? Curator: Precisely. It speaks volumes about the artist’s positioning within the prevailing social and economic structures of the late 17th and early 18th centuries. The loose, gestural lines created with the pen also suggests speed, pointing towards a faster rate of art production. Do you notice how the architecture in the background, though sketched, implies grandeur? Editor: Yes, there’s definitely a tension between the implied wealth and the relative economy of the materials. Almost like a critique? Curator: Or perhaps, a shrewd business decision mirroring the desires of its patron and social context, to produce art accessible to new markets. Editor: I see. So, examining the materiality of this work gives us a richer understanding of the artistic process and the broader social landscape. Curator: Indeed. The art isn’t just in the final image; it's also in the very act and economics of its making.