Planners: Happy Day 1913

Editor: Here we have Wyndham Lewis's "Planners: Happy Day" created around 1913, made with ink, watercolor, and charcoal. The geometric abstraction gives it an energetic feel, but I'm not sure what to make of it beyond that. How do you interpret this work? Curator: The title seems almost sarcastic considering the state of pre-war Europe. Looking at the fragmented geometric forms characteristic of Vorticism, it reflects a world hurtling towards unprecedented industrial warfare and social upheaval. Consider the artists' engagement in modernist movements: could this drawing be critiquing the societal 'planning' that led to such fragmentation and loss? Editor: So, beyond just aesthetic appeal, you're saying its sharp angles and disjointed shapes might represent a deeper societal unease? Curator: Precisely. Lewis was deeply concerned with the impact of modernity on identity and society. Think about the role of machines during this time; were they symbols of progress or destruction? Does this geometric rigidity suggest a dehumanizing aspect of the industrialized world? Editor: That's a stark way to put it. I was initially drawn to the colours, the contrast between the blacks, whites, and warmer hues, but seeing it as a social commentary gives it a whole new level of complexity. Do you think the title then, "Happy Day", is purely ironic? Curator: The title invites us to consider the artist's intention. Irony is certainly present, but it's layered. Perhaps it’s a challenge, asking us to find happiness amidst the chaos, or maybe a critique of the naivete of those who ignored the looming storm. Either way, Lewis urges us to reflect on our own historical and social contexts. Editor: It definitely provides a more grounded interpretation to the geometric forms and invites deeper considerations. Thank you! Curator: Indeed. Art often serves as a lens through which we can examine ourselves and the world around us more critically.