Study of three putti 1795 - 1844

Curator: Here we have Ferdinand Piloty's "Study of three putti," dating roughly between 1795 and 1844. It’s currently held in the Metropolitan Museum of Art. Editor: They look… remarkably solid. A trio of chubby cherubs, all soft light and round limbs. What immediately strikes me is their almost unsettling physicality, especially for what’s ostensibly a heavenly scene. Curator: Right, and that's partly because Piloty worked primarily with pencil here, really digging into the materiality of line and shadow. Consider how this impacts our perception; are these heavenly beings made divine through, say, ethereal color? No, they're defined by tangible, almost fleshy forms rendered by graphite on paper. Editor: It’s interesting how Piloty positions them. They don’t float serenely, but rather grapple with drapes and clamber on a ladder. What’s fascinating is how this hints at the changing role of the Academy in depicting more 'earthy' elements with traditionally divine subject matter. Curator: Precisely. Think about what academic drawing represented during the early to mid-19th century: rigorous study and a mastery over form and materials. These studies were crucial for aspiring artists trained in the atelier, honing their skills. I wonder what this study was made for? Perhaps a preparation for a painting with the motif of the heavenly hosts or an assumption of Mary? Editor: So we see how the study becomes a political act in a way. By drawing, with humble materials, Piloty inserts the working processes right into our reception of high art. Curator: Exactly, and it forces us to confront the often obscured labor involved in artistic production, it shows not necessarily divinity but academic artistic practice. Editor: Seeing these plump putti sketched so diligently brings this process to light in quite a unique way. Curator: It’s certainly given me a renewed perspective on Piloty's work. Thanks for helping to make some interesting connections here. Editor: The pleasure was all mine.