Jacques-Donatien Leray de Chaumont, Intendant des Invalides 1771

Editor: Here we have Jean-Baptiste Nini's terracotta roundel depicting Jacques-Donatien Leray de Chaumont, made in 1771. It’s a Neoclassical portrait. The details seem very precise, even though it's such a small sculpture. What strikes you about this piece? Curator: It's tempting to admire the likeness, but I'm drawn to the terracotta itself. Consider the labor involved in crafting this, how it elevates the material. Was this terracotta sourced locally, reflecting regional industries and economies? Nini’s workshop was known for its production and use of this material. How did he balance artistic expression with the demands of production, and the status of the commissioner? Editor: That's a very different way to look at it! I was focused on the person being represented and not what it was made from. Is the material significant to its meaning or time? Curator: Absolutely. The widespread use of terracotta challenges the established hierarchy that prioritizes materials like marble. Was Nini democratizing art through terracotta, or reinforcing social structures by crafting portraits for the elite from seemingly humble clay? Think about the fire it went through. It's a permanent, preserved image meant for future consumption and admiration. Editor: I hadn't thought about that—it makes me reconsider the entire piece! It is an interesting social commentary using basic material and exposing the artistic skill required in making something out of practically nothing. Curator: Precisely. Analyzing the material processes gives us a powerful entry point for understanding art and the economy behind it. It shows how artistic production is interwoven with manufacturing and access to power, exposing so much of the historical moment through a simple portrait. Editor: So interesting. Thanks for shifting my perspective on this. I'm definitely going to look more closely at materials going forward!