Three studies for a ballet costume 1604 - 1656

Editor: Here we have "Three studies for a ballet costume," dating from between 1604 and 1656, by Baccio del Bianco. It's an ink drawing on paper. I’m struck by the intricate details of what looks like armor or costume elements; how would you interpret this work? Curator: Let's consider the material realities of 17th-century ballet. These drawings weren’t just artistic expressions; they were functional designs intended to be translated into tangible costumes. Think about the labor involved: the artisans meticulously crafting fabric, metal, and embellishments to realize del Bianco's vision. How did those material constraints impact the final performance? Editor: That's a really interesting point, the actual construction must have been so complex. So, you're saying the drawing is almost a record of material production? Curator: Precisely. And let's consider the social context. Ballet at this time was a courtly affair, deeply intertwined with power and status. What materials—expensive silks, rare metals—would signal the wearer's social standing? How did the costumes contribute to the spectacle and reinforce hierarchical structures? Editor: So, even the specific types of inks and paper available influenced what kind of details and drawings he could even render. Curator: Indeed. Also think about where the materials sourced. Labor specialization across many different artisans contributed to creating a costume; the drawings were an essential instruction sheet to guide their work. The material of ink and paper preserve their memory of design as the costume slowly deteriorates over time. Editor: It is amazing how analyzing the raw materials and how they came together brings a whole new dimension to the drawings themselves. Thank you! Curator: And thank you. Reflecting on these historical objects also highlights our present-day production and consumption. A look at a sketch leads to reflecting our times.