Judith 

Editor: This is Lucas Cranach the Elder's "Judith", housed here at the Legion of Honor. I'm struck by the cold detachment in Judith's eyes, given the grim trophy she's holding. What's your read on this piece? Curator: For me, it's a study in the power dynamics embedded in artistic production itself. Consider the materials – oil on panel, luxury goods even then. Who commissioned this piece? Whose wealth afforded the time and skill for such detailed rendering of clothing, jewels, even the glint of the sword? This wasn't simply a devotional image, but a display of status, made possible by a specific economic and social structure. Editor: So, you’re less interested in Judith as a biblical figure, and more in what her image tells us about the patronage system? Curator: Precisely! The very act of depicting Judith, of choosing this scene, is laden with socio-economic meaning. Cranach was court painter; his patrons would likely have identified with Judith's strength but also, perhaps unconsciously, with Holofernes’ subjugation. The power to commission, to control representation, is key here. The sword is not just an instrument of decapitation but one reflecting technological advances that impact manufacturing. Editor: I never thought about it that way before! I was so focused on the biblical story, I completely missed how the very creation of this painting is rooted in wealth and power. Curator: It’s a fascinating lens. Think of the labour involved in the underpainting alone and then compare the labour and resource intensiveness involved with making oil paint as opposed to tempera, an egg based medium. Editor: Thanks for pointing that out. I’ll never look at a painting the same way again! Curator: Exactly, we must continually be asking "Who benefits from art and who pays the price?"