King Candaules of Lydia Showing his Wife to Gyges 1646

Editor: Here we have Jacob Jordaens’ "King Candaules of Lydia Showing his Wife to Gyges", created in 1646, using oil paint. The composition feels very theatrical and sensual, even a little bit uncomfortable considering the gaze directed at the Queen. What stands out to you about it? Curator: Immediately, I'm struck by how Jordaens uses the luxurious fabrics – the heavy velvet of the bed curtains, the delicate lace on the queen's cap, even the sheen of the metal basin at her feet. Think of the labor required to produce those materials, the social strata embedded in their very existence! Does the sensuality you mentioned derive, at least in part, from an awareness of such opulence? Editor: That's an interesting way to frame it, I had not considered the social cost or the labor embedded within each brushstroke of the painting and within each material present in the scene. The story depicted itself already speaks of privilege, since this entire ordeal depends on a King abusing his power in some way. But how are those power relations further informed by materiality? Curator: Well, the availability of those materials signifies wealth and power. Candaules' kingdom can afford such decadence. Also, consider the distribution of the painting itself: Who would have commissioned such a piece? How would they display it? Who had access to viewing it? The voyeurism within the painting extends to its very life as an object. This gaze has permeated its whole existence! Editor: That's fascinating. The materiality of the scene isn’t just about aesthetics; it is intrinsically tied to the themes and societal structures Jordaens engages with. I see that the materials extend beyond the objects depicted, even including the paints themselves. Curator: Precisely! And notice the bold brushstrokes, the almost casual rendering of flesh. Jordaens isn’t just representing a story; he’s presenting us with the act of painting, the labour of creating an image. How can we divorce it? Editor: I hadn't quite thought of the materials in such an all-encompassing way before! Thank you! Curator: My pleasure. Thinking about art through its materiality and its historical and social contexts helps to bring those contexts to life.