Front page of 'Apollo' magazine 1916

Curator: This is the front page of ‘Apollo’ magazine, designed by Heorhiy Narbut in 1916, a linocut print embodying the artistic currents of its time. What strikes you initially? Editor: It's stark, almost austere. The contrast between the ochre chariot scene and the detailed brickwork creates a dramatic effect. The city feels both monumental and in ruins, doesn't it? Curator: Absolutely. The piece resonates with a Symbolist aesthetic. Narbut subtly uses the chariot and ruined cityscape as potent symbols reflective of the era's sociopolitical turbulence. The ruins themselves speak volumes about societal decay. The very date – 1916 – is etched within this scene. World War I was raging at this time. How do you interpret the materiality in light of the context? Editor: The choice of linocut, a technique allowing for crisp, bold lines and reproducible images, suggests a democratisation of art. The material itself speaks to making art accessible amid crisis. The texture – that contrast between the smooth chariot scene and the rough stone textures – emphasises labour; perhaps alluding to both construction and destruction during wartime? Curator: Intriguing. Considering Narbut’s Ukrainian identity, within the context of Tsarist Russia during wartime, adds further layers. This isn't just about a generic cityscape but could symbolize lost homelands, threatened cultural identities under imperial domination. The chariot – often interpreted as Apollo's – might allude to enlightenment, artistic expression combating darkness. Editor: So, even this magazine cover embodies a struggle for cultural survival. Narbut, in choosing linocut, makes the work reproducible. It brings high art techniques into the world, to the everyday. I'm considering it a work meant for wider consumption. What lasting impression do you feel this artwork leaves? Curator: It reveals how artistic practice, deeply entrenched in sociopolitical contexts, communicates powerful narratives beyond mere aesthetics. It demonstrates how a magazine cover serves as resistance. Editor: And for me, seeing it as a product of both intention and accessible materials makes me question why certain means of making art get valued more than others.