A Woman in a Market
HERE is a wonderful painting, Vegetable Market in Amsterdam (c. 1661-1662) by the Dutch painter Gabrielle Metsu. It reminds me of a passage in Virginia Woolf’s feminist lecture series, A Room of One’s Own. While describing her meal in the dining hall of a women’s college, a meal which is greatly inferior to the glorious repast at a nearby men’s college, Woolf writes:
Dinner was being served in the great dining-hall. Far from being spring it was in fact an evening in October. Everybody was assembled in the big dining-room. Dinner was ready. Here was the soup. It was a plain gravy soup. There was nothing to stir the fancy in that. One could have seen through the transparent liquid any pattern that there might have been on the plate itself. But there was no pattern. The plate was plain. Next came beef with its attendant greens and potatoes — a homely trinity, suggesting the rumps of cattle in a muddy market, and sprouts curled and yellowed at the edge, and bargaining and cheapening and women with string bags on Monday morning.
Notice that to Woolf, marketing is “cheapening.” This painting suggests that marketing, even at its lowest, can be elevating. The women to the left in the canvas do seem to be cheapened by the experience of bargaining, assuming that is what they are engaged in at the moment. But the woman to the right possesses a calm and tranquility that transcends her surroundings. She seems untouched by the argument and the disorder. And that is because of her inner qualities, the artist suggests. Furthermore, the rooster and the cabbage leaves and the overarching tree make this excursion to buy food an encounter with nature in the middle of the city. It is a merging of country and city so that one imagines the woman returning to her city dwelling with the earth and the fields and the open skies clinging to her cabbage and onions. In comparison, the rummaging among words that must have filled the days of an intellectual like Woolf seems cheapening.









