Eglantier 1896

Editor: Here we have Maurice Pillard Verneuil’s “Eglantier,” created around 1896, a linocut print that I believe was used as a poster. The pale pinks and greens give it such a calming, decorative feel. What stands out to you in this piece? Curator: I’m struck by how Verneuil employs Art Nouveau to almost democratize botanical illustration. We’re seeing figuration of course, but not in the traditional, exclusive spheres. This isn’t just about representing nature; it’s about embedding it into the everyday lives of people, in their homes and on the streets. Do you see any political undertones? Editor: Political? I mostly see the craftsmanship in the decorative lines of the leaves, but hadn't considered a political angle. Curator: Consider the context. Verneuil, working within the Art Nouveau movement, was challenging the established academic art world, rejecting industrialization by emphasizing handmade design and natural forms. His art provided accessible beauty through prints and posters. It served as an opposition of mass production and an oppressive social hierarchy. How do these choices contribute to accessibility? Editor: I guess the fact that it's a print means it could be widely distributed, not just for an elite few who could afford original paintings. And the choice of subject matter…it’s not some historical battle, but something everyone can relate to: nature. Curator: Exactly. And those are not exotic hothouse blooms, are they? It’s dog rose – a flower common to Europe, familiar to working people. This resonates as an intentional celebration of accessible, everyday beauty. I see that as a quiet form of resistance, imbuing common experience with dignity. Editor: I never thought about Art Nouveau having such depth! It's amazing how understanding the period and its values can change your perspective completely. Curator: Absolutely. And that's the beauty of art history—uncovering the complex narratives woven into seemingly simple images.