La guirlande des mois 1918 - 1920

Curator: Editor: So, here we have George Barbier's "La guirlande des mois," created between 1918 and 1920, a print that really embodies the Art Nouveau aesthetic. The colors are so delicate, the lines are soft, and there is a feeling of opulence. I am wondering how to interpret this in a contemporary light. What do you make of it? Curator: For me, it’s all about understanding how Barbier, and indeed, the entire Art Nouveau movement, approached materials and production. The choice of printmaking as a medium is significant, making art more accessible during this period of social change following WWI. Consider the implications of this reproductive method compared to unique, hand-crafted artwork, especially at this pivotal historical moment. Editor: I never thought about the choice of printmaking in terms of accessibility and social impact before. I was focused on the decorative aspect of the piece. Curator: Exactly. We have to consider who these images were intended for and what kind of consumption Barbier was encouraging. Look at the detail in the fabrics, the bonsai tree. These weren't randomly chosen motifs. Editor: Now that you mention it, the intricate design of the garments really speaks to a certain level of craftsmanship, perhaps influencing clothing and furniture designs from that era? Curator: Absolutely. The flat color technique also democratized image production. What impact do you think this had on consumer culture at the time? Were social class and labour involved in it? Editor: It's fascinating to think about the implications of mass production. Suddenly, everyone had access to visually appealing items and Art. The artists become… tastemakers. Curator: Yes! Barbier here presents, on paper, this aspirational world, readily available as decoration. Think about the role that department stores and printed magazines played at this same time; there's a complex relationship between material desires and consumer culture in "La guirlande des mois". Thank you, I feel like my view of decorative arts shifted by analyzing it materially. Editor: Mine too. This conversation really opened my eyes to consider the practical dimensions of production and distribution, which I have traditionally not considered to a high degree.