Portrait of Nadezhda Komarovskaya 1908

Editor: Here we have Konstantin Korovin's "Portrait of Nadezhda Komarovskaya," created around 1908 using oil paints, seemingly with quite an impasto effect. The way the paint is applied so thickly makes me wonder about the conditions of its production. What do you see in this piece? Curator: Looking at this through a materialist lens, the impasto technique immediately brings to mind the cost and availability of oil paints in early 20th century Russia. Consider how this contrasts with traditional academic painting's emphasis on smooth, blended surfaces. What might the conscious choice to display the material of paint itself signify in relation to class or status? Editor: So, the way he’s using the paint itself becomes part of the statement, almost a commentary on access and wealth? Curator: Exactly. The Russian Avant-Garde artists were often interested in challenging established social norms through their art. The visible brushstrokes and textured surface move the focus away from solely representing the sitter towards celebrating the act of painting itself. Think about the labour involved; the deliberate and visible application of paint turns labor into spectacle, moving away from the illusionism that wealthy patrons might want to show off their status. Editor: That's fascinating. It's easy to get lost in the image of the person, but understanding the materiality really changes my perspective. I guess this is about more than just Komarovskaya. Curator: Precisely. Consider, also, the type of brush used and the canvas preparation. The materiality allows us to view it as a confluence of the artist’s intentions and prevailing economic conditions that enabled or restricted its production. It certainly offers a new and meaningful way to appreciate the Russian Avant-Garde! Editor: Thanks! It makes me see beyond the surface, literally, and think about the whole context of making the artwork.