Portrait of Iris Beerbohm Tree 1915

Editor: This is Jacob Epstein's "Portrait of Iris Beerbohm Tree," created in 1915. It's made of brass and another metal, giving it a stark contrast between the figure's face and that helmet-like piece on top. I find it so striking and enigmatic. How do you interpret this work? Curator: Epstein's portrait of Iris, within the context of 1915, during the throes of the First World War, becomes a potent symbol of protection and constraint. The "helmet" shields her gaze, inviting contemplation of women’s roles during wartime. What’s she shielded from, and at what cost? The rigid metal clashes with the softer, organic forms of her face. Do you see that tension as a reflection of the societal expectations placed upon women, both to protect and to be protected? Editor: That’s interesting! I hadn’t considered the historical context so directly. I was more focused on the sort of futuristic vibe, but that does add a layer of complexity. Is he suggesting that these societal "protections" are actually a kind of imprisonment? Curator: Exactly! Epstein often challenged conventional notions of beauty and representation. He placed her simultaneously in the realms of mythology – that brass evokes classical armour, doesn’t it – and modernity with this almost industrial element. Think about how anxieties of the time manifested. Doesn’t it question the very structures meant to safeguard? Perhaps by limiting experience or autonomy, these so-called safeguards actually dehumanize? Editor: That's given me a completely different lens through which to view this. I initially saw a somewhat cold aesthetic, but now, I see social commentary about protection, gender, and expectation. Thank you. Curator: And I find your reading reminds us to question if art created a century ago can ever truly escape a "futuristic" element! Each reading contributes layers.