Hester, Countess of Sussex, and Her Daughter, Lady Barbara Yelverton 

Thomas Gainsborough likely painted Hester, Countess of Sussex, and her daughter Lady Barbara Yelverton in the late 1700s, using oil on canvas. It’s a good example of how material choices reflect societal values. Consider the textures here. The sheen of the Countess's silk gown, the delicate lace, and even the wisps of her powdered wig, all speak to the labor involved in their creation. These materials weren't just beautiful, they were expensive, and their abundance signalled status. Gainsborough’s artful brushstrokes capture these qualities, and also serve as a commentary on the structures of labor, class, and consumption of the time. The artistry isn't just in rendering the sitters’ likenesses, but in evoking the immense production that made their elevated lifestyle possible. Recognizing this link between material, making, and social context allows us to more fully appreciate the art, and its historical importance.