Bathing Tents, St. Malo 1907

Curator: Let’s take a closer look at Maurice Prendergast’s “Bathing Tents, St. Malo” painted in 1907. Editor: The first thing that strikes me is the texture, how heavily worked the paint is. It’s almost mosaic-like, but without any real formalism; the brushstrokes are thick and directional, building up this shimmering surface. Curator: Prendergast was indeed interested in the material properties of paint and his process. Considering his place in the Post-Impressionist milieu, the density with which he applies the pigments seems almost to push beyond representation, engaging in a visual dialogue with how materials and labor intersect. How does this method enhance your appreciation? Editor: Knowing that he adopted the *plein-air* tradition adds another layer. To haul all of his materials out onto a busy beach speaks to a certain commitment to observe directly and immediately. He wasn't creating an idealized scene in a studio. Curator: Exactly! And who is included in this seemingly picturesque leisure activity? Look at how the figures are rendered – generalized, almost without individual features. There’s a suggestion of class at play here too. Consider the social codes and gender dynamics operating on beaches in the early 20th century: Who had access? Who was visible and who was not? How might the women experience or internalize social constructs during their seaside recreation? Editor: Good point, and this isn't merely a depiction of middle-class leisure. The visible labor supporting this— from the construction of the bathing tents to the roles of the unseen staff serving vacationers– feels completely omitted. We're just presented with the leisure spectacle itself. Curator: Which reminds us, what can we make of those bathing tents? They seem like vibrant temporary architectures. It’s hard to look at them today without considering the issues of private/public space and gender, considering what would take place inside versus on display for public consumption. Editor: A rather cynical take perhaps but valid. Prendergast offers us a surface, an enchanting, colorful façade but it would appear that the underlying social dynamics deserve examination as well. The material act of painting, and Prendergast’s vision are not necessarily disconnected but rather should prompt us to further our analyses and questions. Curator: Well put, a delightful intersection between materials and history I'd say!