'Waiting' 1893

Editor: This is Aubrey Beardsley’s 'Waiting,' created in 1893 using pen and ink. There’s something so stark and lonely about it, with that singular figure and the heavy use of black. What catches your eye about this work? Curator: I'm struck by Beardsley’s technical mastery, but more importantly, how it intersects with the societal values he’s interrogating. Look closely at the woman's attire and that incredibly elaborate hat. Consider the labor required to produce such items, from the seamstresses to the milliners. It points to a very specific class and the conspicuous consumption that defined it. Editor: So, you’re focusing on the material culture surrounding the figure, rather than the figure herself? Curator: Precisely. Even the medium—pen and ink, readily available materials—contrasts with the luxurious subject matter. There’s tension in that, a subtle commentary on access and the creation of value. Think about who *couldn’t* afford to "wait" in such finery. And think about where Beardsley chose to invest the work: the rendering of that material reality. Editor: I see what you mean. The drawing itself becomes a form of social critique, highlighting the labor and materials that underpin this image of upper-class leisure. Curator: Exactly! He’s not just depicting a woman waiting, he's revealing the material conditions that make that waiting possible. And those jagged edges in the hat become more and more menacing with each consideration, don't they? Editor: They do! Thanks, I wouldn't have considered the socioeconomic implications so explicitly just from looking at the surface of the drawing. I’ll definitely remember to think about material conditions more critically now! Curator: A great insight, paying attention to how labour and materiality speak through art helps to understand social realities.