La Nouvelle Robe. Metalanim, Ponape 1938

Editor: Here we have "La Nouvelle Robe. Metalanim, Ponape," a woodblock print made in 1938 by Paul Jacoulet. The subject sits formally in a beautiful lilac-colored dress. I’m struck by the flattening of the figure and how that relates to its medium. What can you tell me about it? Curator: Notice the woodblock technique – each color requires a separate block meticulously carved and printed. This highly laborious, reproductive process shifts the focus from the artist’s singular genius to the collaborative effort inherent in printmaking and labor practices. How do you think that changes our interpretation of the piece? Editor: It feels less like a window into the artist's soul and more like… well, labor. And maybe that informs the portrayal itself. The woman’s dress, for example, feels both traditional and perhaps imposed upon her. Curator: Exactly! The "nouvelle robe," the new dress, signifies an imposed cultural element, reflecting colonial influence and the commodification of indigenous culture. Jacoulet wasn't just representing a woman; he was documenting the complex interplay of cultures through the very materials he chose and the way he made the piece. How does that inform the work's message? Editor: So, it's not just about seeing a portrait but understanding how the printmaking process itself highlights issues of labor, cultural exchange, and perhaps even cultural appropriation. That context significantly shifts my understanding. Curator: Precisely. Considering the means of production—the carving, printing, and the societal context embedded in each layer—reveals deeper meanings beyond the surface representation of a woman in a new dress. Editor: I’m going to look at woodblock prints completely differently now! I really appreciate this new materialist perspective. Curator: It’s exciting how focusing on process transforms how we understand the message of art!