Coverlet c. 1937

Curator: Immediately striking is this intense azure paired with the muted reddish brown. There's an energy here. Editor: Yes, there is! This watercolor drawing, titled "Coverlet," dates to around 1937, and is attributed to Ruth M. Barnes. It provides a fascinating insight into textile designs of the era. It’s interesting, don’t you think, that she uses watercolors to capture a textile's appearance. Curator: The geometry and the color-blocking lend the design a compelling, almost abstract quality. It seems to evoke a longing for tradition yet has an experimental flair. The regularity is what truly grabs my eye; such ordered neatness, each component clearly distinguished by color and design. Editor: Precisely! Textile production, especially by women, has historically been marginalized. Examining pieces like this forces us to reconsider the artistic value assigned to these works and the stories they tell about labor, skill, and cultural transmission. The interplay of blue and that earthen hue speak to the artistic choices available. Curator: Thinking of semiotics, consider what those shapes may evoke – the central diamonds could relate to the feminine or concepts of home. Editor: Or perhaps it reflects larger social movements. During this time, there was a resurgence of interest in traditional crafts, partially fueled by economic hardships of the Depression. People sought ways to create beauty and functionality in their everyday lives, sometimes directly participating or purchasing work in local artisan guilds and centers. This aesthetic appreciation could be understood as art making during a challenging period in history. Curator: Yes, this gives me a renewed perspective about textile design within the context of craft history. The detail suggests dedicated practice. Editor: Indeed. I, in turn, now value even more the careful symmetry employed here to evoke an intriguing interplay.