The Homecoming of a Fowling Party 1618 - 1652

Editor: So, here we have "The Homecoming of a Fowling Party," painted sometime between 1618 and 1652 by Simon Kick. It’s oil on wood and gives a real snapshot of daily life. What do you see in the details of this painting? Curator: Look closely at the depiction of labour and leisure here. It isn't simply a depiction of a 'genre scene.' The tangible results of the hunt – the dead fowl, the accoutrements of the hunt itself – become commodities, imbued with a certain social status. Kick’s skilled handling of oil paints gives a striking verisimilitude. Editor: So it’s not just about wealthy men on a hunt? Curator: Certainly not. It is about material realities. How were those weapons crafted? What was the cost of the materials in their garments? Consider the labour invested in weaving that decorative rug partially obscured on the left, versus the simplicity of their home. These details speak volumes about consumption and access during the Dutch Golden Age. Do you notice how the painting's materiality impacts your view? Editor: I do. Now I'm thinking about where the wood support came from and the pigment for the paint… that really changes the picture. I appreciate that perspective! Curator: It reveals hidden networks of production and consumption behind even seemingly simple scenes. Every brushstroke represents a material choice with its own history and significance. Editor: I guess it shows how looking closely at materials helps understand the social and economic circumstances that surrounded making the painting in the first place. Thank you for your expertise. Curator: Precisely! Thinking about process encourages new dialogues on historical narratives that resonate through our lives, too.