Armchair 1940

Editor: Here we have Harry Eisman's "Armchair" from 1940, rendered in watercolor and colored pencil. It's such a straightforward image, but the delicate details capture my attention. What story do you think it tells? Curator: Straightforward, perhaps deceptively so. It reminds me of those endless afternoons studying furniture catalogs as a child! This isn’t merely a chair; it’s a memory, an echo of craftsmanship facing the rise of mass production. The careful rendering suggests reverence, wouldn’t you agree? Editor: I can see that! It's like elevating a common object. The artist has really highlighted the craftsmanship of it. Was this common at the time? Curator: Absolutely. The academic style, a prominent way to accurately record everyday objects, was commonly employed in architecture. However, notice how Eisman personalizes the chair with slight imperfections. Not every line is mechanically precise. Maybe there's something deeper there. What do you make of the almost complete lack of context or surroundings? Editor: It almost makes it seem like a character or monument rather than furniture in a room. Maybe that’s the key? It’s about honoring design as its own form of expression? Curator: Precisely. It encourages us to appreciate the often-overlooked beauty in utilitarian things. Each curve, each joint, lovingly depicted. It begs the question: is art about what is depicted, or how it’s depicted? And perhaps, which ones can sit together, don't you think? Editor: I never would've thought of that on my own. Looking at the chair this way opens my eyes! It shows how an artist’s unique perspective makes an ordinary item thought-provoking. Curator: It's not just a chair; it’s an invitation to reflect. Thanks for pointing it out!