Marie Baumann, verh. Loewe 1840

Editor: This is Friedrich von Amerling's 1840 oil painting, "Marie Baumann, verh. Loewe." There’s something haunting about the way the light catches her face. What strikes you about it? Curator: Looking at Amerling’s process here, particularly his use of oil paints, brings forth considerations about materiality. Consider where he sourced those materials – the pigments, the linseed oil. What does that supply chain tell us about 1840s Vienna? Who had access to such luxuries? Editor: So, beyond just admiring the artistry, you’re thinking about the… resources? Curator: Precisely. This wasn’t just a matter of Amerling’s genius; it involved networks of trade, labor, and class. Even the canvas itself has a story - the flax cultivation, the weaving - women's work largely obscured. What was Baumann's relationship to those kinds of labor practices? Editor: I never thought of it that way before. So the painting isn’t just a representation of Marie Baumann, but of broader social structures? Curator: Absolutely. How were women positioned in the production of art versus being the subject *of* art? This work raises questions about access, representation, and the silent labor underpinning even the most seemingly refined object. Notice, too, the absence of jewels or finery - is that intentional? Editor: Maybe to downplay her association with wealth, or maybe highlight the materials instead? Now, looking at it again, I can't unsee the connection between those resources and who she is. Curator: Indeed, and understanding those material and social connections is critical for us to examine. Thank you for your insight. Editor: This has totally changed how I will look at paintings.