Andiron 1935 - 1942
drawing, coloured-pencil, pencil
drawing
coloured-pencil
coloured pencil
geometric
pencil
watercolor
Curator: Oh, wow, look at this! It has a delightfully whimsical quality—like a Roman ruin reimagined by Dr. Seuss. Editor: Indeed. What we’re seeing here is a drawing entitled "Andiron" by Frank Fumagalli, created sometime between 1935 and 1942. Fumagalli rendered this image using pencil and colored pencil, with some hints of watercolor to really flesh out the golden tone. Curator: Andiron? I had to look that up. It's one of a pair of metal supports for firewood, right? Not something I associate with grand architectural sketches, necessarily. But there's something so beautifully impractical about this one, with its grand staircase and miniature column. Is this meant to be a proposal? Editor: Quite possibly. We see many such drawings from the 30s and 40s, especially those produced during the Great Depression and New Deal eras, reflecting not just practicality but also the desire to integrate art and craftsmanship into everyday life. These sketches offered ways to keep design ideas alive during a time of constrained building. Curator: So it’s dreaming big while living practically? The steps lead up to… nowhere! Though the delicate crown on the top is gorgeous; almost like a jewel. Do you think there’s any symbolic value here? Editor: Perhaps Fumagalli hoped to elevate even the most humble hearth with a touch of classical grandeur. The andiron is a symbol of domestic comfort and warmth, but its transformation into something architectural perhaps suggests a broader desire to elevate everyday experiences. I’d even argue it plays on how institutions of architecture like a hearth contribute to shaping identity, shelter, and public experience of comfort. Curator: Ah, that is such a cozy-yet-stately interpretation! Makes me want to find a fireplace, put on some jazz music, and reflect on grand architectural impossibilities all evening. Editor: Well, it's nice to see that design, even on paper, can stoke our imagination beyond its intended purpose. I’m keen to further consider the public value of design in archives and in our homes.
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