The Trellis by the River 1911

Editor: Ferdinand du Puigaudeau's "The Trellis by the River," painted in 1911 with oils, captures a moment of tranquil riverside scenery. The thick brushstrokes really give a sense of texture, especially in the trellis itself. What do you see in this piece? Curator: For me, the emphasis falls on the conditions of production. Looking closely, one can see the build-up of impasto—the layering of oil paint becomes almost sculptural. It invites a reflection on the labor involved. What social class do you think would commission a piece made *en plein air* but seemingly depicting leisurely moments in an idyllic setting? Editor: Hmmm, I hadn’t considered that. Perhaps the painting's emphasis on leisure is designed for a wealthy patron to contemplate their own privileges? The trellis itself seems like a constructed space for relaxation. Curator: Precisely. Consider the materials – oil paint itself, the canvas. These weren't universally accessible. The ability to commission, own, and display this work reflects a specific socio-economic status. Du Puigaudeau even builds upon the style of Impressionism – using it, in essence, as a signifier of wealth and bourgeois taste. Note also, this wasn't just plein-air; that boat required laborers to construct, to sail, and to maintain, too! Editor: So, rather than just appreciating the landscape, we should be questioning the social framework that enabled its creation, and its consumption? Curator: Exactly. Thinking about who could afford this painting, where it might have been displayed, reveals as much as the image itself. The artist and their world play as vital of a role as that dreamy landscape does. Editor: This has completely shifted my perspective on landscape painting. I’ll never look at a trellis the same way again. Curator: Indeed! It’s about seeing beyond the surface, digging into the context to fully understand the piece and all that made it possible.