Winter 1632 - 1642

Editor: We’re looking at “Winter,” an etching and engraving by Abraham Bosse, created sometime between 1632 and 1642. It feels almost like a scene from a play, all these figures gathered in what looks like a well-to-do home. How do you interpret this work, thinking about its context? Curator: It’s fascinating to consider Bosse’s "Winter" through a critical lens. This genre scene isn't just a depiction of domestic life; it's a carefully constructed representation of class and gender roles in 17th-century France. Editor: How so? Curator: Look at the women gathered around the hearth, seemingly occupied with domestic tasks. Are they truly empowered, or are they confined to the domestic sphere? Consider also who benefits from their labour. Who owns the means of production within this household? And what’s being omitted from the picture? Are we seeing the full reality of 17th-century life, or a curated, idealized version intended for a specific audience? Editor: So it’s not just a cozy domestic scene, but something more complex, reflecting existing power structures. It also points at how women and the working class have been traditionally depicted in art, maybe? Curator: Precisely. By interrogating Bosse’s choices, we can expose the ways in which art can both reflect and reinforce societal inequalities. Art history isn’t just about aesthetics; it's about power. What are your thoughts on this, given what you are noticing now? Editor: It definitely makes me want to dig deeper, to see beyond the surface and ask who is being represented, and why. I see that understanding those contexts is a game changer for seeing art and its many stories.