La Goulue And Her Sister c. 1892

Editor: Here we have Henri de Toulouse-Lautrec’s “La Goulue and Her Sister,” created around 1892, using watercolor. The blurred figures and muted colors almost give it the feel of a quickly-captured snapshot. What can you tell us about it? Curator: Looking at "La Goulue and Her Sister," I'm drawn to the material realities behind this glimpse into Parisian nightlife. The use of watercolor, a less 'precious' medium than oil, signals Lautrec's interest in capturing fleeting moments and perhaps, a democratization of art itself. What do you notice about the social context hinted at in the work? Editor: Well, these women appear to be performers, or perhaps just regulars at a cabaret. Is it possible to glean something about the working class based on how the image was produced, and how that intersects with class distinctions of fine art? Curator: Precisely! Watercolor allowed for quicker production, aligning with the demands of commercial art and posters that fuelled Parisian entertainment. Furthermore, consider the accessibility of watercolor versus oil paints to artists of differing economic means. Did this influence Lautrec's choice of medium? Did it grant access to subjects considered outside the realm of 'high art'? Editor: That's fascinating! So, beyond just being a stylistic choice, the materiality of watercolor directly connects to the subjects depicted and the broader social forces at play. It makes me wonder about other overlooked aspects of artistic creation. Curator: Exactly! By examining the labor involved, the materials used, and the context of production, we gain a richer understanding, not just of the artwork itself, but of the society that created it. What previously invisible connections does it create for you now? Editor: This deeper, material-based context really shifts how I'll consider art from now on, beyond simply the visual aesthetic.