Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil 1734

Editor: This is Nicolas de Largillière’s "Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil" from 1734. The red robe really pops out! What strikes me most is the opulent texture of his clothing. What do you see when you look at this painting? Curator: Well, consider the cost. Oil paints at this scale and level of detail require skilled labor in their production – from grinding pigments, likely imported, to stretching canvases. And let's think about the coat - who spun that fabric? How was it dyed such a vibrant red? These aren't just aesthetic choices; they're material statements about production and access. Editor: So the red of the robe isn’t just about beauty, but speaks to its economic weight? Curator: Exactly. The crimson hue speaks volumes about global trade networks and dye production processes controlled by powerful entities at the time. We're seeing not just a portrait but a record of power. Where do you think Largillière himself fits into this? Editor: Is he profiting from the production or just the artistry? He is, after all, selling a luxury good himself through this artwork! It is all tied into the process of portraying this count. Curator: Precisely! The artist benefits from, and is part of, the Comte’s display of wealth and access to global material networks. Largillière's labor is also part of the story of this piece, as he turns raw material into social capital. We need to ask where does the making begin, and end, in this context? Editor: That makes me think differently about portraits of wealthy people from this era. Thank you! Curator: Glad to offer that perspective. Looking beyond just the aesthetics really does unlock a deeper level of understanding of what this portrait represents.