Umbrellas in the Rain 1899

Editor: Here we have Maurice Prendergast's "Umbrellas in the Rain," from 1899, painted in watercolor. It definitely captures a specific moment, a vibrant scene on a rainy day, maybe in Europe, given the architecture. I’m curious; what strikes you most about this piece? Curator: The watercolor itself is key. Consider the context: 1899. Cheap, commercially produced paints are now available. The ease of production changed painting, but Prendergast still leaves evidence of labor through those loose brushstrokes, defying the idea that mass production equates to effortless creation. Editor: That’s fascinating! I hadn't considered the paint itself as part of the story. Does the application itself, then, carry meaning? Curator: Absolutely. The very act of applying watercolor - thin washes, building up layers, creates not just the image, but evidence of a working process. He also disrupts hierarchies of what is considered “high art” by choosing scenes from daily life, making them available for interpretation and analysis. How are these social and industrial changes relevant in our time? Editor: Right, I get what you mean. I’d considered the umbrellas as shelter or colorful decoration but not as symbols of the shift to industrial-scale manufacture. Curator: What I'm more intrigued by are those human connections implied, not stated explicitly. The viewer becomes involved in manufacturing meaning beyond purely descriptive interpretation, because even an ‘innocent’ scene participates in larger networks of capital. Editor: I definitely learned a lot. Thanks for showing me new perspectives on the way we interpret this artwork and its industrial background! Curator: Likewise! It is quite thought-provoking and interesting to look into such artwork from a fresh point of view.