Portrait of Iosif Igelström 

Editor: So, here we have Dmitry Levitzky’s "Portrait of Iosif Igelström." The vibrant reds against that muted green really catch my eye. I’m curious, when you look at this, what aspects of its materiality and social context stand out to you? Curator: I’m drawn to the opulence signified by the materials depicted – the fine cloth, rich colours. What kind of labour went into creating and maintaining these signs of power, of social standing? Who spun the fabric? Who wove the damask? Who tailored the clothing? Editor: That's a fascinating point. It's easy to overlook the sheer amount of work embedded in what seems like just a formal portrait. The red sash with what seems like a brocade pattern also catches my eye; it must have been woven with incredible precision. How does the materiality intersect with the message being conveyed? Curator: Exactly. Levitzky doesn’t just present Igelström; he presents his status, earned through perhaps violent or oppressive acts. The raw materials and labour transform into signs of power and privilege, which Igelström embodies. Think, too, about the pigments—were these costly materials? Sourced locally or globally? Each of those details gives us insight into the system of power dynamics that the piece portrays, and, indeed, participates in. Editor: It really puts the work in a different perspective, thinking about all those hidden processes and what they represent in the broader social framework. So, what starts as an exercise in observation about an artwork's surface turns into a broader investigation about that period. Curator: Precisely. It makes us think about the art world's relationship to societal production and consumption patterns then and today, I think. Editor: Definitely something to reflect upon. I’ll keep all that in mind in my further encounters with portraits of this era. Thank you for helping me deepen my gaze. Curator: A pleasure. It's crucial that we continue questioning the silent stories behind artworks!