Immaculate Conception 1935 - 1942

Majel G. Claflin made this watercolour of the Immaculate Conception in the first half of the 20th century. I'm wondering if the artist was outside when she painted this, given how the colours are muted as if bleached by bright sunlight. The figure stands so still, almost severe, with her hands pressed together in prayer. I imagine Claflin- who lived until 1941- painting outside, trying to capture the light and the colours, maybe contending with the breeze. Look at the cracks and fissures on the surface of the statue, beautifully rendered with delicate brushstrokes. They remind me of tree bark. I think about the vulnerability of the painted surface and how, over time, it can age and develop a patina, acquiring new layers of meaning. I look at the red detailing on the sleeves and how the red is carried into the trim of her gown. These motifs create rhythm and unity in the composition. Artists are constantly drawing inspiration from each other, and there is a real conversation happening here. It reminds us that painting offers us a way of seeing, thinking, and experiencing the world.