Madame Loubens c. 1869

Editor: This is Degas’s “Madame Loubens,” created around 1869, using pastel. The soft lines give the portrait a subdued and reflective feel, but those pops of red and purple hint at some vibrancy within. What’s your perspective on this piece? Curator: The choice of pastel here is crucial. Degas wasn't just representing Madame Loubens; he was actively *producing* an image, building it up through layers of pigment. The materiality of the pastel itself, its powdery, almost fragile nature, speaks to the fleeting nature of Impressionism, and how he’s exploring the new techniques afforded by industrial pigment production of the time. How do the pastel materials themselves, made possible by a complex web of industry and labor, influence your perception of Madame Loubens? Editor: I see what you mean. It does make it feel less "grand" than an oil painting might, more approachable. Does her social context play a part here? Curator: Absolutely! Consider her clothing, her hat—these were commodities, products of a growing textile industry fueled by global trade and labor exploitation. Degas isn't just capturing her likeness but situating her within a network of consumption. The artwork itself becomes a record of material culture and social stratification. Where was this piece likely displayed, and what does that say about its value and audience? Editor: It feels like you are suggesting that everything within the frame has been deliberately and consciously included by the artist to talk about society, commerce and manufacturing. I suppose it all circles back to process and the economic conditions that enabled its production. That’s not something I initially considered. Curator: Precisely. By considering the social life of materials, we unearth so much about the artist's practice, their subjects, and the era in which they operated.