A Hand Holding Empty Gloves c. 1630s

Curator: What an interesting piece. I'm immediately struck by the almost melancholic atmosphere it conveys. The texture created by the dry media adds to that feeling, wouldn't you agree? Editor: Absolutely. The drawing you’re referring to, titled "A Hand Holding Empty Gloves," comes to us from Bernardo Strozzi, around the 1630s. I am intrigued by the raw nature of the materiality here, and I wonder how this drawing would have fit within the production of Strozzi's studio, especially considering his prolific output of larger-scale oil paintings. Curator: Yes, this figuration offers so much. Note the stark contrast between the open hand, fleshy and substantial, and the gloves, mere outlines hinting at a covering. Is it a study in textures, a meditation on presence and absence, or perhaps a commentary on the role of gloves as class markers of that time? Editor: All are compelling interpretations, yet let's focus on the artist's technique. Observe how the red chalk is applied with varying pressure, creating depth and shadow. And the almost ethereal quality to the gloved hand contrasted by the bold form of the exposed palm. The gloves become more a representation than a realism which perhaps tells of production during that time. Curator: Good point. The gloves almost become allegorical. Perhaps representing social position or profession that no longer "holds" as substantial reality. The implications are profound! What starts as what could be dismissed as just a sketch, really allows us access to reflect on socio-political implications. Editor: Indeed. Strozzi uses line and form to guide us beyond simple representation. I think the choice of medium speaks to something as well - why drawing specifically and why this tone of dry-media. Could this be to symbolize the labor conditions? Curator: A poignant thought. By making the method of making front and center Strozzi highlights that those factors should not be ignored as we grapple with interpreting the artwork. A reminder of the labor and social context inherent to the production. Editor: Yes, and through formal choices like color, medium and figuration he manages to present complex layers of meaning, even in this relatively simple work on paper. I really appreciate his focus here on revealing these components rather than trying to conceal it. Curator: Well said. The directness and lack of excessive Baroque flourishes are definitely present even in a drawing like this, that sets this piece apart for me, making it much more than meets the eye at first glance. Editor: Agreed, and considering how it might influence an expanded definition of drawing is also thought-provoking, even to this day.