La Poetesse Indienne 1941

Editor: Here we have Paul Jacoulet’s “La Poetesse Indienne,” a woodblock print from 1941. The colors are so vibrant; the blues and yellows really pop. What stands out to you? Curator: Immediately, the emphasis on the woodblock print medium catches my attention. Let's think about Jacoulet's deliberate choice of this traditional Japanese technique. How does the process of carving and printing influence the visual outcome and our reading of "orientalism" and Japonisme within this portrait? Is this perhaps appropriating artistic practices for a western view on Asia? Editor: So, you are thinking about how the physical act of making the art affects its meaning? I hadn’t considered that. Curator: Exactly. Think about the labor involved in creating a woodblock print - the carving, the inking, the pressing. Each step is a conscious decision that contributes to the final image. Further, think of who made the artwork. Jacoulet hired skilled Japanese artisans to assist with carving and printing his designs. This highlights a fascinating dynamic of collaboration and potential exploitation in artistic production. Editor: That's interesting! I suppose I often just look at the final image, but now I am more conscious of the "means of production." Curator: And consider the audience, right? Who would purchase and consume such an image in 1941? Does this speak to colonial power dynamics or a fascination with the exotic? How did printmaking allow such images to circulate? Editor: I didn’t think of how widely a print can be distributed compared to a painting. Considering how the materials and creation affected the image’s spread adds a new layer to my interpretation of Jacoulet's "La Poetesse Indienne.” Thank you for highlighting that, I feel like my eyes have been opened to another critical view. Curator: Likewise, considering reception enriches the conversation about the piece and artistic endeavors in general.