The Children of Nathan Starr 1835

Editor: Here we have "The Children of Nathan Starr," a painting made around 1835. I believe it's currently housed at The Met. What strikes me is how formally everyone is arranged. They almost seem suspended in time, yet it gives off a surprisingly cozy feeling despite the formality. What do you see in this piece? Curator: "Suspended in time"... I love that, it is quite astute. Doesn't it remind you a bit of stepping into a memory? It's romantic in a way, wouldn't you agree? Not romantic as in romance, but in its embracing of emotion and perhaps, just perhaps, a touch of idealization. You know, that soft filter we place over our recollections. Editor: Definitely, now that you mention it! The open doorway pulls you right into this idyllic scene. The objects the children are holding, are those…? Curator: Fans, indeed. You have a room with fans on what looks like a moderately windy day; the very objects are in conflict with their surrounding. In portraiture, even the most unassuming details, a strategically placed object, a knowing glance—it’s all intentional, hinting at the sitter’s character or aspiration. And here? One feels transported back to those innocent days where children used every thing for playing, Editor: That’s a good point about their surroundings contrasting what they are doing. You know, at first glance it seemed simple, but there's definitely more to unpack. Curator: Exactly! This painter clearly reveled in this commission! There's a quiet drama, isn't it, of capturing fleeting youth amidst, what I see, the tranquil scenery in which their youth develops. You see those sailboats and the houses down the hill behind the children, I'm transported in this little idyllic moment of history, the moment is as personal as one I'd find when leafing through my parent's photo album. It reminds one to pause and celebrate these unique instances. Don't you think? Editor: That makes me appreciate the artist's intention and depth. Thank you for that little insight!