La Marchesa Maria De Seta 1937

Editor: This is "La Marchesa Maria De Seta," painted by Gino Severini in 1937, using oil paint. What strikes me immediately is the texture of the dress and the oddly placed pigeon; its almost comical! What stands out to you about this work? Curator: Well, beyond the pigeon, which we can get to later, I am most interested in the fabrication of the Marchesa's velvet dress. The conspicuousness of the puff sleeves speaks volumes about the cultural emphasis of appearance and labor of creating such clothing in 1930's Italy. How does Severini's chosen materiality affect how you understand this portrait? Editor: So you’re saying that the emphasis on the dress is drawing attention to the labor involved? It is true that the subject seems less 'glamorous' because I’m so aware of the work that goes into the dress! Is the painting style significant? It seems like a blend of realism and something else… Curator: Precisely! The modern style, along with his rendering of the textures, avoids idealizing the Marchesa, contrasting sharply with traditional aristocratic portraiture, in which the sitter would be idealized and made into more than they were. This more “realistic” style implies a respect for the craft used to create her clothes, the tools used for applying oil to canvas, and more; these tools were not seen in the realm of fine art until this period. It speaks volumes to what the artist holds in value. How does Severini navigate class boundaries? Editor: It’s all making more sense now. I’m also seeing that even the book she holds, that could have been seen as another prop, now shows an additional level of how material and labor has affected artistic representation. I’m so glad you helped me focus on these issues! Curator: Absolutely! Paying attention to these details and recognizing the social framework helps us engage with these materials beyond their simple appearance and the artist's intentions; that is the beauty of art!