Venster met gordijnen by Léon Laroche

Venster met gordijnen c. 1895 - 1910

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drawing, print

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drawing

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art-nouveau

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print

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decorative-art

Dimensions height 360 mm, width 273 mm

Curator: Here, we're looking at a print called "Venster met gordijnen," or "Window with Curtains" attributed to Léon Laroche, dating roughly from 1895 to 1910. Editor: It's lovely! The colors, a muted pink and a faded blue, evoke a feeling of quiet domesticity, like a room awaiting a visitor. Curator: Indeed, the print appears to be a design study. It presents more than just a decorative element; it portrays aspirational taste, fitting the decorative arts movement with Art Nouveau influences that catered to wealthy elites defining themselves as "modern." Editor: I see that. It seems so specifically tailored, not just curtains, but a total concept. I'm intrigued by the emphasis on the theatrical draping—suggesting a sense of drama carefully considered within the private sphere. Are there gendered connotations to these kinds of interior designs, then? Curator: Certainly. In the late 19th century, interior design, and especially textile selection, was viewed as within the purview of women, marking the home as a carefully curated performance of femininity. The choice of materials, their texture, how light interacted with them—all were imbued with coded meanings about the inhabitants. Editor: It's fascinating to think of these curtains as almost a character themselves! They represent control over one's private stage, crafting intimacy for only some eyes and creating expectations, and shaping an overall visual environment. I wonder about access to these interior spaces. What socioeconomic implications did it have for the domestic staff whose labor maintained these constructed ideals? Curator: Absolutely! A window is always both a literal portal and a representational symbol for one's place within the world. But with such heavy window dressings and drapes, what are we obscuring as well as displaying? Editor: Right! We must reflect critically about how design, which is sometimes viewed as superficial or feminine, reflects powerful economic and political realities for multiple genders, and within diverse socioeconomic classes and hierarchies.

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