Three Legged Chair 1935 - 1942

Editor: We’re looking at "Three Legged Chair," a drawing and watercolor on wood, created between 1935 and 1942 by Francis Jennings. The three-legged structure gives it such an awkward but striking profile. What stands out to you about this piece? Curator: It is an intriguing exploration of form. Note how the artist contrasts the severe geometric planes of the seat with the elaborate carving of the chair's back. The visual tension that results is particularly compelling. Are we meant to read these contrasting components as compatible, or antithetical, in a visual and perhaps philosophical argument? Editor: That's fascinating! I was so focused on the humor of the three legs I missed those contrasts. The ornate carving *is* very different from the simple seat. Do you see a reason for the contrast between the seat and the back? Curator: Precisely! Notice the relationship between line, shape, and form. The verticality of the back, adorned with these organic motifs, is literally propped up by a grounded geometry which appears, at first, unstable. Yet it resolves to stability, as the chair achieves wholeness as an artwork. The use of watercolor adds a layer of depth, don’t you think? Editor: Definitely. The watercolor gives it a softer, more approachable feel. This feels less like a portrait of a chair and more like an idea of one. Thanks for pointing that out! Curator: Indeed. I find that by analyzing the visual construction, we unveil how Jennings achieves formal coherence through tension and reconciliation. It compels us to look and reflect, beyond the simple presentation of a chair. Editor: It’s incredible how much there is to see beyond just the image of a chair when you look at the fundamentals!