The Passing of the Soul at Death 1918

Editor: Here we have Evelyn De Morgan's "The Passing of the Soul at Death," painted in 1918. It's an oil painting, and I’m immediately drawn to the juxtaposition of the earthly figure with the ethereal one. What do you see in this piece? Curator: Looking at De Morgan’s use of materials, I’m struck by how she’s used oil paint to delineate the class dynamics embedded within spiritualism. Consider the rich textures in the drapery, the landscapes—how they consume costly pigments derived from exploitative colonial trade. Is this vision of death a luxury afforded by the elite? Editor: That’s a fascinating perspective! I was focused on the symbolic representation of death and the soul’s journey, but I didn't think about the economics of creating this kind of artwork. Curator: Precisely. Notice the sheer labor invested in the detailing of the fabrics versus the simplification of the background. The materiality itself speaks to a hierarchy. It wasn’t simply about depicting the soul’s journey; it was also about showcasing wealth, the result of unequal global labor relations, through artistic skill. What statement does that choice of skill imply about art making? Editor: So you're saying the materials and the skill deployed in representing those materials contribute to a social commentary? The Pre-Raphaelites aesthetic, often celebrated for beauty, can be seen through the lens of labor and class? Curator: Exactly. De Morgan wasn’t merely illustrating a concept. The choice of materials, the sheer scale, reflect social values concerning who can afford death and the representation thereof. Editor: I hadn't considered the Pre-Raphaelites in that way before. Thanks for pointing out how material and technique create deeper readings. Curator: My pleasure! It’s crucial to understand that every brushstroke carries social weight, whether intended or not.