Women Praying in Church 1875 - 1885

Curator: Léonaustin Lhermitte's work, "Women Praying in Church," dating roughly from 1875 to 1885 and displayed here at the Art Institute of Chicago, presents a poignant interior scene rendered in charcoal and pastel on paper. What captures your eye about this piece? Editor: Initially, the starkness of the charcoal hits me. It's not dreary, though. There's something comforting in how the artist uses the medium to portray these women; the scene is intimate. Curator: Indeed. Lhermitte, deeply rooted in realism, often depicted rural life and labor, turning his gaze to the devout practices of women here. The drawing itself underscores the realities of its creation; it doesn’t disguise the process. We see each stroke, feel the materiality. Editor: Absolutely, it is raw and unfiltered. You know, I once tried charcoal drawing in art school. Failed miserably. There's an unforgiving quality to it, but Lhermitte navigates that so beautifully! It invites reflection on faith and quietude in public spaces. I feel like I am an intruder! Curator: Intrusion and observation were significant parts of realist endeavors, positioning art to reflect societal textures. This echoes larger issues such as access to religious spaces, and gender roles. Think how laborious life was in this historical moment, so defined by hard work, making time for reflection felt subversive! Editor: I wonder about the material reality for those women back then, the texture of their clothes, the physical labor inherent in even quiet moments like these. Did attending mass become an act of defiance, a moment snatched from toiling away in farms? Curator: That tension permeates the piece, challenging distinctions between what we deem high art, the church architecture itself, and what we might casually pass as ordinary. It invites questioning, prompting reflection on social status and collective versus individual worship. Editor: I find that so relevant today when consumerism so loudly demands our attention and spirituality feels so marginalized... In a very humble way, the artwork reminds me of what matters most. Curator: Lhermitte presents a moment inviting us into the humble lives of these women, to experience the scene not just visually but viscerally. Editor: You're right, it stays with you long after you move away from it.